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τ ΠΗ IN THE HISTORY 
OF ACTORS AND ACTING 
IN ANCIENT GREECE 


TOGETHER WITH A 


PROSUPOGRAPHTA HISTRIONUM 
GRAECORUM 


A DISSERTATION PRESENTED TO THE FACULTY OF 


PRINCETON UNIVERSITY 


IN CANDIDACY FOR THE DEGREE OF 
DOCTOR OF PHILOSOPHY 


(DEPARTMENT OF CLASSICS) 





BY 


JOHN BARTHOLOMEW O’CONNOR 





CHICAGO 
THE UNIVERSELY OF*CHICAGO: PRESS 
1908 





Published September 1908 


_Copyricut 1908 By 
Joun BARTHOLOMEW O'CONNOR 


oP, . 
enon” *, 


te 

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ee 

τοῦ» 

. ἣν ἐπὶ 
Pd εν ove 
δι: Foy 
σοῦ. ὄινο 
“ ον 
4 . 
᾿ o..0 
ΚΝ 





TO 
FRANCIS EDWIN CUNNINGHAM 
IN AFFECTIONATE REGARD 





CONTENTS 


PAGE 
ΕἸ ΒΆΘΕΙ Ἐν ΡΝ ΜΈΣ neal ls ee  ΥΨΗ 
HARPER TERMINOLOGY το εις Wie lait 
1. ὑποκριτής and ὑποκρίνεσθαι. 
’ὔ ’ 
2. τραγῳδός and κωμῳδός. 
3. ἀγωνιστής, ἀγωνίζεσθαι, συναγωνιστής, πρωταγωνιστής; δευτεραγωνι- 
στής, τριταγωνιστής. 
4, ἐπιδείκνυσθαι. 
5. τεχνίτης. 
Carter II]. To Waar Extent Actors Kept to ΤΉΕΒΙΒ ParticuLar 
MUMIUGERGTARTIOS Bors) te.) se eee Heke Rae eo ee AO 
Cuapter III. Tuer Actors’ Contests in ATHENS PERRY ov i eek τ 


1. The Contests of Tragic Actors (a) at the Dionysia; (6) at 

ENG MSH aceiys ator sy Mics». ἘΠ ΑΜ a tel ota ea ena AG 
2. The Contests of Comic Actors at the Lenaea and Dionysia . 47 
3. The Lists of Victorious Actors, 7G. II 977, Arranged and 


Daeg ran nee ie oh? ΣΤ ἀγὸς ΓΟ ΜΡ OO 
AppenpDIx. ProsopoGraPHiA Histrionum GRAECORUM Ae ie og 
RESTORATIONS AND TEXTUAL EMENDATIONS Propos—ED . . . . . 144 








PREFACE 


The chapters here presented on the history of acting and actors 
in Greek antiquity form only an introduction to the larger work 
originally planned, whose scope may be here briefly outlined: (1) 
to trace the development of the actor’s part in the production of 
plays from the earliest time, when, by the gradual differentiation 
of the actor from the chorus, dramatic action became possible, 
down to the period when, by the spread of the guilds of Dionysiac 
artists over the entire Greek and Graeco-Roman world, the tradi- 
tions of the drama came to be wholly within the keeping of the 
actors; (2) to follow as far as the available evidence should per- 
mit the process by which the apprentice, whose first essay before 
the public was in the réle of mute or supernumerary, rose to the 
position of speaking actor, and then, if possessed of more than 
ordinary ability, gained the right to compete for the prize offered 
to protagonists and was recognized as competent to supervise, as 
actor-manager, the reproduction of ‘old plays” or classics; (3) 
to determine the dates of the introduction of the four contests of 
actors into the Athenian festivals of Dionysus, so far as this had 
not already been done, and to ascertain if possible what the pro- 
cedure was which the Athenian officials followed in different 
periods in granting to qualified actors admission to these contests ; 
(4) to study the personnel of the various Dionysiac guilds in 
some detail, in the hope of obtaining more accurate information 
concerning the degree of specialization prevalent from the third 
century on, or, in other words, to find out how far the old distine- 
tion between tragic and comic actors, which Plato Rep. 595 ὃ 
speaks of as a matter of course, was maintained at a later time, 
and to what extent the ranks of the poets were still recruited from 
the body of actors; and finally (5) to present in alphabetical 
order the names of all known Greek actors with all the essential 
facts which we possess concerning them. 

The materials collected for these studies have proved too ex- 
tensive for publication in a doctor’s thesis. It has seemed best, 


vil 


Vili PREFACE 


therefore, to withhold for the present the chapters that have no 
direct bearing on the prosopographical list, and to print the list 
itself with such chapters of the treatise as contribute directly to 
the understanding of the material there collected. 

It is hoped that the prosopographical list will prove of service to 
students of the Greek drama; the researches in recent years of 
Reisch, Capps, and Wilhelm have shown how largely we are 
obliged to depend on the records of actors for information on at 
least the external history of the drama after the close of the clas- 
sical period, while the serviceable treatise of Volker has con- 
tributed not a little to our understanding of the classical drama. 
In drawing up the list, accordingly, the writer has endeavored to 
make it as complete as possible and practicable, both as to indi- 
viduals and as to the ascertainable facts concerning them. A good 
deal that is new will be found in the list, including some restora- 
tions of inscriptions. 

The study of the technical terms employed to designate the 
actor and his function was found to be necessary for the sake of 
gaining a clear conception of the history and meaning of each 
term, and partly in order that the confusion regarding some of 
them that has arisen in recent years might be dissipated. The 
publication of Wilhelm’s important work and the discussions to 
which it has given rise have rendered unnecessary a large part of 
the chapter on the Athenian actors’ contests as originally outlined. 
We have accordingly confined ourselves here to a brief presenta- 
tion of the facts which have been established by others, discussing 
at length only the still uncertain date of the introduction of the 
comic actors’ contest into the City Dionysia. In the second 
chapter some data are brought together which bear on the sub- 
ject of the specialization of actors after the fourth century. 

Acknowledgments are due to all my predecessors in this field 
of study, especially to Vélker, Reisch, and Wilhelm; others are 
mentioned in the notes and references. It is a pleasure to express 
my indebtedness to my various teachers, Professors Shorey and 
Hale of the University of Chicago; Professor Hendrickson of 
Yale University, formerly of the University of Chicago; and, of 
Princeton University, Professors Capps and Abbott, formerly of 


PREFACE ix 


the University of Chicago, West and Westcott. During a year 
in Athens it was my privilege to attend the lectures of Professors 
Dérpfeld, Schrader, and Wilhelm. But my especial thanks are 
due to Professor Capps, through whose teaching I became inter- 
ested in this field of work and without whose constant sympathy, 
inspiration, and aid this study would hardly have been successfully 
prosecuted. In the third chapter especially and in establishing 
the chronology of the persons mentioned in the Victors’-lists I 
have found his intimate knowledge of the inscriptional documents 
indispensable. 


J. B. O’Connor 
ADELPHI COLLEGE 
Brooklyn, N. Y. 





CHAPTER I 
TERMINOLOGY 


The terms which we shall discuss in the present chapter are: 
(1) ὑποκριτής and ὑποκρίνεσθαι; (2) τραγῳδός and κωμῳδός: 
(3) ἀγωνιστής, ἀγωνίζεσθαι and their compounds, especially 
συναγωνιστής, πρωταγωνιστής. δευτεραγωνιστής. and τριταγωνιστής ; 
(4) ἐπιδείκνυσθαι, (5) τεχνίτης. 

1. ὑποκριτής and ὑποκρίνεσθαι.- "6 first formal exhibition of 
tragedy at Athens as a recognized part of the festival of the City 
Dionysia took place in 534 B.c.;' soon after the establishment of 
the Cleisthenian democracy the state assumed charge of the tragic 
exhibitions at this festival and provided for the expense of their 
maintenance; comedy was admitted into the same festival in 
486;* in 449 the contest of tragic actors was organized; and 
similar contests for both the tragic and the comic actors who par- 
ticipated at the Lenaea were soon after established. By this time 
we may reasonably infer that the element of acting had become 
distinct and separate from the choral element and that the con- 
stituent parts of the companies of tpaywdof and κωμῳδοί had 
come to be referred to by distinctive names. 

But it is not until a generation after this epoch date in the 
history of acting that we have contemporary documents in which 
the name for ‘‘actor” and the verb for ‘“‘acting” are found. But 
the great Fasti of the victors at the City Dionysia, which were 
compiled and put on stone after the middle of the fourth century,° 
were undoubtedly based upon the contemporary records of the 
eponymous archon both as regards the historical facts preserved 


1Marmor Parium, ed. Jacoby, p. 14. 

2 Probably at the time of the introduction of the choregic system. That this was the 
event which furnished the epoch-date of the great Fasti of victors, 7G. II 971, as Capps con- 
jectured in Introduction of Comedy into the City Dionysia (Chicago, 1903), is still the most 
plausible hypothesis. 

@Capps, loc. cit., pp. 12, 28, and AJP. XXVIII (1907), p. 86. 

4See now A. Korte Classical Philology II (1906), pp. 391f., and Reisch Zeitschr. f. ster. 
Gymn., 1907, pp. 289f.; cf. Wilhelm Urkunden dramatischer Auffiihrungen in Athen, p. 13. 


1 


2 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


‘in them and -in respect of the terminology employed. In this 
document we find under the heading τραγῳδῶν for the year 447 
(Withelm, ps 18), the entry ὑπ[οκριτὴς ὁ δεῖνα] (se. ἐνίκα). We 
are justified, therefore, in assuming that the term ὑποκριτής, which 
first appears in Arist. Vesp. 1279, 422 B. c. (Appendix, No. 41), 
was in both official and popular use at the time of the first estab- 
lishment of the actors’ contest. From this time forth, as the 
Attic literature becomes more extensive and varied, the specialized 
use of these words for the actor and his work is illustrated by an 
increasing number of instances, too numerous to catalogue.’ 
Throughout the fifth and fourth centuries these words have no 
real rivals. The noun occurs either alone or qualified by the 
adjectives τραγικός and κωμικός or by the corresponding nouns. 

We may note at this point two facts that are to be observed: 
(1) So far as we can determine, ὑποκριτής is used indiscrimi- 
nately for any actor in a play without regard to his relative rank 
or importance, though in later times there was ἃ tendency 
(below, pp. 5 ff.) to use another term for the leading actor of a 
troupe, leaving ὑποκριτής for the subordinate actor. (2) As 
ὑποκρίνεσθαι described more particularly the function of an actor 
in a play, so it could be used also to describe the function of the 
chorus when the latter took part in the action.” When Aristotle* 
says that the chorus ought to take part in the action as an actor, 
he is enabled to emphasize the point which he wishes to make 
through the very fact that ὑποκρίνεσθαι had’ come to describe 
especially the ordinary work of the actor as distinguished from 
the ordinary work of the chorus. 

The terms ὑποκριτής and ὑποκρίνεσθαι, in the technical mean- 
ing which we find current in the classical period, were obviously 

'The earliest use of ὑπόκρισις in a technical meaning seems to be in the essay On the 
Sophists of Alcidamas of Elaea, the pupil of Gorgias (Blass Antiphon, p. 198), where he 


illustrates the precision and polish of a speech delivered from memory by reference to the 
actor and rhapsodist. 


2 Aristotle Poet. M59 b 25: τὸ ἐπὶ τῆς σκηνῆς καὶ τῶν ὑποκριτῶν μέρος μόνον, where ὑποκριταί 
includes all the participants in the dramatic action, as Flickinger has shown in The Mean- 
ing of émi τῆς σκηνῆς, etc. (Chicago, 1902), who cites also Plat. Symp. 1b μετὰ τῶν ὑποκριτῶν, 
where probably all Agathon's performers, chorus as well as actors, were included in the 
phrase, and the late scholium to Aesch. Agam, 1347 (p. 319 in Wecklein’s edition), rewrexai- 


δεκα εἰσὶν οἱ τοῦ τραγικοῦ χοροῦ ὑποκριταί, 


2 Poet, 1456 a 26: καὶ τὸν χορὸν δὲ ἕνα δεῖ ὑπολαβεῖν τῶν ὑποκριτῶν, Kai... , σνναγωνίζεσθαι, 


TERMINOLOGY 3 


not invented to designate the actor and his work at a time 
when the actor’s function had just become sufficiently differenti- 
ated to demand a specific terminology. On the contrary, the 
Athenians took words which were already in use in an untechni- 
cal meaning— words which seemed to them adequately to describe 
the part which the actor took in the production of a tragedy. In 
the course of time these terms become so closely associated with 
the drama that they came to be less frequently employed in the 
old literal and metaphorical meanings than in the meaning which 
they had acquired through this association. In time the original 
meaning disappeared altogether, except perhaps in some of the 
dialects, and the derivative meanings which came into use were 
based upon the dramatic and not upon the original signification. 

The original meaning of ὑποκρίνεσθαι has been the subject of 
much discussion and of widely divergent views. On the whole, 
however, the stemma of meanings set up by G. Curtius' seems to 
be as near the truth as it is possible to get with the evidence we 
have. It has the further merit of being in accord with the unani- 
mous testimony of the ancient scholars’ who discussed the origin 
of the term as applied to dramatic action. 

According to Curtius the two original meanings are (1) 
“interpret” and (2), ‘follow immediately upon” in conversation 
(in certando succedere). The former meaning, found in Homer, 
always persisted but suffered no further development. The latter, 
however, from the simple meaning (a) ‘‘answer,” also found in 
Homer, came to be applied (Ὁ) to the dramatic ‘‘answerer” who 
took up the words of the chorus and responded to them (ἀποκρί- 
νεσθαι πρὸς τὸν xopdv,as a group of ancient writers explain) ; 
thence (6) the technical meaning ‘‘act” or play a rdle, and then 
the derived meanings (d) ‘‘dissemble,”’ “‘play the hypocrite,” and 
(e) “recite” or ‘“‘declaim” in a dramatic manner. ὑποκρίνεσθαι 


1 Abh. d. k. sachs. Ges. d. Wiss. zu Leipzig, Phil.-hist. Kl. 111. pp. 148 ff., and Rhein. Mus. 
XXIIT (1868), pp. 255 ff. His view was opposed by Summerbrodt Rhein. Mus. XX (1867), 
p. 510=Scaenica, pp. 259ff. (cf. also ibid., pp. 285 ff.), Who insisted on “‘interpret”’ as the origi- 
nal meaning. For the literature in general see A. Miller Biihnenalt., pp. 170f., to which add 
Heimsoeth De voce ὑποκριτής, index. schol. Bonn., 1873. Heimsoeth’s main thesis was that 
in the scholia to the dramatic poets ὑποκριτής occurs in the sense of “ grammaticus;’’ but 
his view is apparently not now accepted by anyone. 


2Collected by Curtius Abh., loc. cit., pp. 149 ff. 


4 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


in the meaning ‘‘answer” is used by Herodotus and by Hip- 
pocrates. It seems to have survived longer, before being dis- 
placed by ἀποκρίνεσθαι when the former had become specialized, 
in Ionia than in Attica, as one would expect, and though it is so 
used a few times by Attic writers, yet it was probably felt by 
them to have an archaic flavor.’ 

As ὑποκριτής is used by classical writers in the general sense of 
“actor” without distinction of grade or rank, as noted above, so 
the verb covers the whole work of the actor, whether it is conceived 
of as dignified and artistic or as merely imitative. So Aristotle 
Eth. Nic. 7. 1147 a 23 uses of ὑποκρίνομενοι of those who merely 
recite what they do not understand. The verb is used also of the 
particular rodle assumed, as when Aristotle Pol. 8 (5) 1314 a 40 
says ὑποκρινόμενον τὸ βασιλικὸν καλῶς. 

ὑποκρίνεσθαι with the name of the character or with μέρος or 
πρόσωπον τι is a usage that extends from the classical writers down 
to the latest, in both the literal and the metaphorical sense, e. g., 
Luc. De salt. 83, ὑποκρίνασθαι μανίαν. It is to be noted, how- 
ever, that when the object of the verb is the title of a play or its 
equivalent, τὸ δρᾶμα, τὴν τραγῳδίαν or τὴν κωμῳδίαν, the phrase 
in no period of Greek literature refers to the participation of any 
actor except the leading actor or protagonist (see Appendix). 
In Athens after the actors’ contests were established the reference 
is always to the one actor in each play who was competitor for the 
prize, and outside of Athens, in the period of the guilds, to the rea 
gregis or the leading member of the troupe of actors who pre- 
sented the play. So the Attic Didascaliae 7G. IT 973, 974, 975 
regularly report, after the name of the play, ὑπείκρίνετο) ὁ δεῖνα ; 
and in the last line of each year-list of the Fasti 7G. 11 971, ὑπο- 
κριτὴς ὁ δεῖνα, ὑποκριτής must also be taken in the special sense of 


1 Thue, 7, 44, 5, τὸ σύνθημα εἰ δ᾽ αὐτοὶ μὴ ὑποκρίνοιντο, διεφθείροντο. Arist. Rhet. 1444 618, ra 
δὲ τοιαῦτα πάντα οὕτω δεῖ ὑποκρίνεσθαι, Xon, Mem. 1. 3. 1, ἡ Πυθία ὑποκρίνεται, is generally cor- 
rected by editors to ἀποκρίνεται, Aristoph. Ach. 401, 60° ὁ δοῦλος οὑτωσὶ σοφῶς ὑποκρίνεται, the 
word is used by the poet intentionally and should not be altered. If the Slave was really 
Euripides’ actor, as the scholiasts assert, who identify him with Cephisophon, the double 
meaning was manifest; if, however, this is merely the fancy of the commentators and the 
Slave was neither Cephisophon nor anactor of Euripides, the word ὑποκρίνεσθαι, which gave 
rise to this interpretation, was used for paratragic effect. The latter alternative is the more 
probable. So in Aristoph, frag. 585 K., Kock rightly defended ὑπεκρίνετο because of the 
manifest parody of tragic diction, 


TERMINOLOGY 5 


protagonist, as the corresponding entry in the Didascaliae shows, 
ὑποκριτὴς ὁ δεῖνα ἐνίκα. 

Through the establishment of the usage just described, the 
leading actor in a play, or the actor who, by virtue of recognized 
position, took part in a dramatic contest only as a competitor for 
the actors’ prize, easily came to be spoken of as the ὑποκριτής 
par excellence of a play. Generally speaking, a person who is 
referred to in Greek writers simply as ὑποκριτής (with the quali- 
fication ‘‘tragic” or ‘‘comic”) is assumed to be a prominent actor 
or protagonist—though perhaps this is true because the writers 
whom we possess usually have occasion to refer only to actors who, 
as actors, have achieved some eminence. It does not follow, how- 
ever, that a person who, like Aeschines, did not win a leading posi- 
tion as an actor could not be referred to as Αἰσχίνης ὁ ὑποκριτής. nor 
that all protagonists of whom we hear were good actors (cf. the 
case of Hegelochus). But we can readily understand how, in an 
age in which the list of victorious protagonists could be drawn up 
under the general heading νῖκαι ὑποκριτῶν τραγικῶν, the simple 
ὑποκριτής could generally imply an actor of the first rank. At 
any rate, as we shall immediately see the need was felt at a 
later time for a word which would better carry the connotation of 
“actor of the first rank.” 

2. τραγῳδός and kwpuwdds.—The words τραγῳδός and κωμῳδός, 
which from the beginning of the third century on when used in 
the singular signified the leading actor, the head of a troupe and 
more especially the leader of a troupe that brought out an old 
tragedy or comedy, had not yet come to be employed in this sense. 
They are found only in the plural in writers of the fifth and fourth 
centuries (below, pp. 18 ff.). And yet the beginnings of the later 
specialization in the use of these terms can be detected in three 
instances. In the Fasti 7G. IL 971 the phrase παλαιὸν δρᾶμα 
πρῶτον παρεδίδαξαν οἱ τραγῳδοί is found in the year 386 (frag. ἃ, 
p. 23 Wilhelm’), and the same expression with οὗ κωμῳδοί in that 
of the year 339 (frag. g, p. 28 Wilhelm). These entries indicate 

» the introduction of the “old tragedy” and of the “old comedy” 


1See Wilhelm Wien. Jahresheft (1907), p. 39, where the rediscovered fragment is pub- 
lished. πρῶτον is accordingly restored in frag. g. 


6 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


respectively into the annual’ programme of the City Dionysia. 
Now we do not chance to have the corresponding Didascaliae for 
either of these two dates, but for the year 341, 7G. 11 973, we find 
παλαιᾷ Νεοπτόλεμος. Here a single tpaywdds is mentioned by 
name whereas in the Fasti we have the plural without any name. 
It is not to be assumed that the play was brought out in the latter 
case by the several members of the tragic company together and 
in the former by a single member of the company. The explana- 
tion is rather this: The record of the Fasti confines itself to 
ἀγῶνες, except where a new event was for the first time introduced. 
The old play was evidently not offered in a competition for a 
prize; the τραγῳδός who superintended its production won no 
victory, and therefore was not entitled to a place in the Fasti, 
which is a list of the victors. The plural of τραγῳδοί in the 
Fasti, therefore, tells us clearly that old plays were brought out by 
τραγῳδοί and κωμῳδοί, while the Didascaliae show us that each 
year a single τραγῳδός or κωμῳδός had charge of the reproduc- 
tion. We have then, in the Fasti for 386, the first instance 
of the meaning of τραγῳδός that afterward became the common 
meaning. 

The same tendency toward the appropriation of the word 
τραγῳδός in its specialized sense is seen in Demosthenes De pace 
6, as Capps’ has shown. The orator refers to the bad advice 
on political matters, given by Neoptolemus ὁ ὑποκριτής, to which 
the Athenians had listened. He goes on to say that he could 
blame no one but the Athenians for this, “for if you had been 
witnessing tragic performances in the theater (tpay@dous ἐθεᾶσθεὶ) 
instead of to a debate on matters of the highest import to the 
state, you would not have listened to him with favor nor to me 


993 


with aversion. It is clear that Demosthenes has in mind here, 


not the dramatic spectacle as a whole, nor the tragic poets in 
particular, when he uses τραγῳδούς, but that he is contrasting 


1 We have no right to assume, with Wilhelm Urk., pp. 28f., that from these dates on the 
reproduction of old plays was “occasional.” All the evidence which we possess indicates 
that this event, when once introduced, was a regular part of the exhibition. Reisch Z6G. 
(1907), p. 204, is right about this. 

Δ}. XXIX (1908), pp. 206 ff. 


2Cf. the scholiast’s paraphrase, “ you listened to Neoptolemus with favor, charmed by 
his voice.” 


TERMINOLOGY ih 


the rivalry of Neoptolemus and himself before the people as 
pleaders in a political cause with their possible rivalry as actors 
competing for the prize to be awarded to the best protagonist. 
While Demosthenes lays claim to superior consideration as a 
statesman, he readily concedes the pre-eminence of Neoptolemus 
in his own sphere, the theater. In the entirely formal phrase of 
Demosthenes, therefore, with its usual meaning ‘‘tragic perform- 
ances,” we see for the first time in literature the beginning of the 
specialization in the meaning of tpay@dds and κωμῳδός which 
afterward became common and which may have been, and probably 
was, in official use as early as 386 5. Ὁ. 

A very concise statement of the difference which ancient 
scholars observed between the usage of the classical period and 
that of post-classical writers is found in the scholium to Demos- 
thenes De pace above referred to. The note has so generally 
been regarded as hopelessly corrupt that it has received far less 
consideration than it deserves. I give here the text as it stands 
in the MSS, except for the displaced clause which Capps has 
shown to constitute a second note. The main note is a commen- 
tary on Νεοπτόλεμος ὁ ὑποκριτής, the second on τραγῳδούς ἐθεᾶσθε. 
For a full discussion of the scholium reference is made to Capps, 
who has recently demonstrated both the soundness of the MSS 
tradition and, in a measure, of the doctrine embodied in this bit 
of ancient learning.’ 

UrokpiTHVv: —‘vroKpiTas’ ἐκάλουν οἱ ἀρχαῖοι τοὺς νῦν ᾿ τραγῳδοὺς λεγομένους, 
τοὺς δὲ νῦν “ὑποκριτὰς (οὗτοι δὲ ἦσαν δύο) τὸν μὲν “δευτεραγωνιστήν," τὸν δὲ 
᾿τριταγωνιστήν," αὐτοὺς δὲ τοὺς ποιητὰς τῶν δραμάτων ‘Tpaywoors’ Kal “τραγῳ- 
δοδιδασκάλους." " 

τραγῳδούς:--- τοὺς ποιητὰς οἷον τὸν Εὐριπίδην καὶ ᾿Αριστοφάνην. 

The scholiast, observing that Neoptolemus, the famous protago- 
nist, is simply called ὑποκριτής, rightly remarks that later writers 

1 AJP. XXIX (1908), pp. 206 ff. 


2The MSS give after λεγουμένους in the first line the words τοὺς ποιητὰς-- Εὐριπίδην καὶ 
᾿Αριστοφάνην, which Lambinus in the edition of Novelli saw were out of place; but he 
inserted them after ποιητὰς τῶν δραμάτων, not repeating τοὺς ποιητάς. But Capps saw that 
τοὺς ποιητάς could be explained only as an attempted definition of τραγῳδούς as used by 
Demosthenes later on. The scholium is generally quoted in the version of Lambinus, who 
boldly rewrote it, omitting τοὺς δὲ νῦν ὑποκριτάς, changing δύο to τρεῖς, inserting ὃ μὲν πρωταγω- 
νιστής, then reading ὃ δὲ δευτεραγωνιστής, etc., and finally changing τραγῳδούς in the last 
line to τραγικούς, 


8 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


would have preferred τραγῳδός. In the second statement he 
wrongly, as we shall see (below, pp. 31 ff.), attributes to the 
ancients, i.e., to the classical writers, a use of “deuteragonist” 
and “tritagonist” which was certainly not classical. As regards 
the third statement and that of the second note, they are not 
wholly wrong nor wholly right, but only incomplete. While 
Demosthenes in the phrase τραγῳδοὺς ἐθεᾶσθε was certainly not 
thinking of the poets but rather of the competing protagonists, as 
we have seen, yet τραγῳδοί does sometimes in classical writers 
signify “tragic poets” and seldom specifically “tragic actors.” 
Yet it would have been more correct to say that in the plural it is 
used in the broader sense, “tragic company,” and that the writer 
who so uses it may have in mind either the company as a whole 
or the spectacle which the company as a whole presents, i. e., 
“tragic performance ;” or, in the third place, the writer may have 
uppermost in his mind either one of the three principal elements of 
the tragic company: chorus, poets, or actors. The Demosthenes 
passage is peculiar and important in that the word tends to be 
narrowed in the direction of the later specialized usage, and to 
mean, not the actors who produce a given play, nor the actors 
who together produce several plays, but the rival leading actors 
in the several competing plays. And the scholium has value in 
clearly pointing out the change in usage which had taken place 
at the time of writing—a change which is at least foreshadowed 
if not exemplified in the Demosthenes passage.’ 

At this point it is necessary to consider at length the conten- 
tion advanced by Mr. Herbert Richards in his article ‘On the 
Use of the Words τραγῳδός and κωμῳδός," Class. Rev. XIV 
(1900), pp. 201 ff. He there challenges the traditional view (as 
stated, e.g., in Liddell and Scott) as to the meaning of these 
terms. He argues that τραγῳδός and κωμῳδός in classical Greek 
meant “1. singers, in most cases forming a chorus, acting and 
spoken of together, 2. a performance, 3. tragedy or the tragic 
stage, comedy or the comic stage.’ In conclusion, after present- 
ing an extensive collection of material, he makes the following 


1 The law of Lycurgus (passed before 325) establishing a contest at the Chytri is called 
by the author of Vit. X, Orat, 8417 ὃ νόμος περὶ τῶν κωμῳδῶν, and κωμῳδοί refers here to pro- 
tagonists, as Rohde observed; see below, Ὁ. δῦ, 


TERMINOLOGY 9 


statements as suggestions: “1, that there is no evidence for the 
sense of either actor or poet in good Attic of the fifth and fourth 
centuries; 2. that outside Attica towards the end of that time 
and onwards there is evidence for actor, but not of a quite clear 
and conclusive kind, and that conclusive evidence does not appear 
until the first century after Christ, though we need not doubt 
that the sense existed earlier; 3. that the sense of poet is not 
found till at any rate the second century of our era and perhaps 
not so soon,’’ As an inference from his main conclusions Richards 
suggests that τραγῳδός and κωμῳδός “may signify a performance 
by one or two people in which singing was paramount” —thus 
practically reviving the long-abandoned theory of Béckh touch- 
ing “lyrical tragedy.” 

Richards arrives at the foregoing conclusions by the following 
method. Starting from the original etymological meaning of the 
words, “‘goat-singer”’ and ‘‘komos-singer,” he takes up the actual 
occurrences of τραγῳδός and κωμῳδός in the earlier extant litera- 
ture and in inscriptions, and shows that in every case the words 
can be assigned to one of the three meanings mentioned above. 
He lays stress on the fact that there is no passage in Attic litera- 
ture of the fifth and fourth centuries where tpaywdds and κωμῳδός 
unequivocally bear the sense of poet or actor. He then traces 
the use of the words in later Greek until he can find instances of 
definite poets and definite actors who are called τραγῳδοί and 
κωμῳδοί. 

Apart from the question of the validity of his interpretation 
of the words in classical writers, Mr. Richards’ treatment of the 
subject is open to several criticisms: (1) Because in the litera- 
ture of a particular period he can find no passage where the words 
must mean poet or actor, he infers that they were never so used. 
But an argument 6 silentio is especially hazardous in this case, 
for much of the literature of the most important period is lost and 
what remains touches only incidentally and rarely upon dramatic 
performers. If Richards were right in his interpretation of 
τραγῳδός and κωμῳδός in the passages he has gathered, even so his 
argument would not be conclusive. (2) He assumes that the 
terms kept their original meaning of “singers” throughout Greek 


10 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


literature, and he seeks to make this meaning explain the occur- 
rence of τραγῳδοί and κωμῳδοί in the Soteric lists of Delphi and 
other inscriptions without first investigating the significance of 
the entries in these documents or turning to account the special 
researches of such writers as Reisch. (3) He fails to consider 
the historical development of the personnel of the dramatic com- 
panies and the change wrought thereby in the content of the words 
in question. (4) He overlooks important inscriptional evidence 
available at the time of writing.’ Since then, it may be added, 
important new inscriptions have come to light, especially the new 
fragments of the Fasti above referred to (p. 5). It may be 
added, further, that one who attempts to follow Mr. Richards is 
needlessly embarrassed by his reference to inscriptions in publica- 
tions long since antiquated. The texts, dates, and commentary 
of scholars like Kohler, Dittenberger, Baunack, and others have 
given many of these documents a new significance. We may 
remark also that deductions are sometimes carelessly drawn, and 
that too often the writer has employed the lexica and indices 
without making sure of the context, so that the writer himself 
has fallen into error and the reader is misled. 

The conclusions of Mr. Richards haye not been combated in 
detail so far as the writer knows. They seem to have met with 
the approval of von Holzinger (Jahresber., 1903, p. 170). Mr. 
Capps TAPA. XXXI (1900), p. 117, n. 3, expressed his dissent 
from Richards’ view and promised at a later time to defend the 
traditional view. This promise is now fulfilled vicariously by the 
present writer.’ 

The words τραγῳδός and κωμῳδός first occur freely in documents 
which permit of a precise definition of the functions of the per- 
sons so designated. These documents are the agonistic inscrip- 
tions of the third century and following. Among these the most 
important are the lists of the performers at the Soteria at Delphi 
and the lists of the leading contestants at the Dionysia at Delos. 
The Soteric lists give the names of all the participants in the exhi- 


1Such as 7G. ΠῚ 971, 972, 973, 975, 977, and the choregic catalogues of Delos —this group 
constituting the most important inscriptional evidence we possess. 

2Some suggestions have been derived from a paper which Mr. Ὁ. P. Lockwood, then a 
student in Harvard University, prepared for Professor Capps. 


TERMINOLOGY 1.1} 


bitions under the general heading οἵδε ἠγωνίσαντο τὸν ἀγῶνα τῶν 
Σωτηρίων. The tragic performers are mentioned by name, under 
the sub-heading τραγῳδοί in groups of three, each group having its 
flute-player and didascalus. Similarly for comedy—xa@p@dol in 
groups of three with flute-player and teacher. After the κωμῳδοί 
follow the members of the comic chorus, seven in number, and 
without teacher or flute-player. 

It is certain that the τραγῳδοί and κωμῳδοί mentioned in each 
group are not actor-managers, but all the actors employed. This 
is shown by the headings and by the character of the inscriptions 
in detail." Again, the unvarying number of three actors is signifi- 
cant.” In this respect the Delphic lists are unlike the Delian, 
where the number of τραγῳδοί and κωμῳδοί varies greatly ; in a later 
Soteric inscription but one κωμῳδός is recorded, Baunack 2569. 

Richards, however, is of the opinion that the three τραγῳδοί 
and the three κωμῳδοί are vocalists merely, rather than actors 
proper. He argues thus in substance: The function of the didas- 
calus was confined to teaching the chorus singing and dancing. 
Now since there was no tragic chorus, as he assumes with Liders 
and A. Miller, the didascalus mentioned each time with the 
τραγῳδοί and κωμῳδοί taught these as he would have taught the 
chorus had there been one, i. e., taught them singing and dan- 
cing. The reasoning seems entirely false. A few years earlier at 
Delos dramatic choruses took part with the actors.’ Here the 
Tpaywoot and κωμῳδοί are always the actor-managers. If a chorus 


1E.g., the fact that the individual members of the comic chorus for each year are 
named, and the costumer. 


2See Kelly Rees The So-called Rule of Three Actors in the Classical Greek Drama 
(Chicago, 1908), p. 69. 


3Cf, this entry in the accounts of the ἱεροποιοί for the year 279 B. c., BCH. XIV (1890), 
p. 396, 1.85: χορῷ τῷ γενομένῳ τοῖς κωμῳδοῖς καὶ τῷ τραγῳδῷ Δράκοντι τοῖς ἐπιδειξαμένοις τῷ θεῷ, δᾶδας 
mapa ᾿Εργοτέλους.... ῥυμοὶ καὶ ξύλα {{Π||]|,4, and A. Korte N. Jahrb. 7. klass. Alt. III (1900), 
p. 83. The notice clearly shows that certain things were provided for the chorus which was 
furnished to the κωμῳδοί, and apparently also to the tragic chorus furnished to Dracon. It 
is entirely in line with this bit of evidence that we always find the comic choreutae at Delphi 
just after the comic actors and without either flute-players or teachers. And yet flute- 
players and teachers are absolutely essential to the training and the performance of the 
chorus. Since the Delphic catalogues give all the performers, the conclusion is that the 
comic choreutae were under the direction of the didascalus who trained each group of 
actors, and that their partin the performance was an essential part. It isinteresting to see 
in the catalogue of ca. 140 B.c., Baunack, No. 2569, that the choreutae are designated as 
χορευταὶ κωμῳδοῦ, See Capps TAPA. XXX (1900), p. 138. Cf. Anth, Pal. xi.11, σὺ δ᾽ ἔχων χορὸν 
οἴκοθεν ἥκεις, of one who gathered a chorus as if he were a τραγῳδός ur χοραύλης, 


12 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


went with the κωμῳδοί at Delos, then the comic choreutae men- 
tioned in the Delphic lists went with the κωμῳδοί, flute-player, 
and teacher there also, and we are obliged to assume that the per- 
formances in both cases were of the same character as those which 
are evidenced in the Athenian inscriptions of the same epoch, 
viz., dramatic. As for the tragic chorus at Delphi, although the 
lists give the names of no persons under the head of χορευταὶ 
τραγικοί, yet the τραγῳδοί here as at Delos may have been furn- 
ished with choruses, either the comic choreutae assuming this 
function, as in the day of Aristotle,’ or else the ἄνδρες χορευταί or 
χοροὶ ἄνδρων, as Jan and A. Korte suppose.’ 

We may add that, since no poets are mentioned in the Soteric 
lists, old plays were probably brought out there. We chance to 
know that the Heracles of Euripides, which surely demanded a 
chorus, was performed at this festival during the third century 
(BCH. XVII, 18938, p. 15). The correct understanding of these 
lists, to which Richards appeals in support of his new theory, 
seems to be, that there was a dramatic chorus, certainly for 
comedy’ and in all probability for tragedy also; that the three 
τραγῳδοί and the three κωμῳδοί were the actors of these tragedies 
and comedies; and that the function of the didascalus was still, 
as it ever had been, to train the chorus as well as the actors, i. e., 
he was the manager of the performance. 

The Delian inscriptions, unlike the four great Soteric cata- 
logues, mention only the leaders of the dramatic troupes. The 
τραγῳδοί and κωμῳδοί mentioned in them are actor-managers. We 
have seen that this was true in the case of Dracon. Again, in 
some of the years the number of tpay@éo/ or κωμῳδοί is less than 
three. In the Delian list of 201 B.c., BCH. VIL (1883), p. 118, 
Eudemus, the only κωμῳδός mentioned, performed three times, 
doubtless with the same troupe. Further, three of the Delian 
lists mention poets under the heading ποιηταὶ κωμῳδιῶν (280 8. Ο., 


1 Pol, 8. 3. 1276 b 4, ὥσπερ γε καὶ χορὸν ὁτὲ μὲν κωμικόν, ὁτὲ δὲ τραγικόν ἕτερον εἶναί φαμεν, τῶν 
αὑτῶν πολλάκις ἀνθρώπων ὄντων, 

2Jan Verh. ἃ. ΧΧΧΙΧ phil. Versamml., p. 87; οἵ, Preuner Delph. Wethgeschenk, p. 76; 
Korte N. Jahrb. 7. kl. Alt, 111 (1900), p. 86, 

§In the recently discovered comic fragments from Ghorfn and in Lefebvre’s new Menan- 
der papyrus χοροῦ is written several times between scenes. For the correct interpretation of 
this fact see A. Korto Hermes XLITI (1908), pp. 299 ff. 


TERMINOLOGY 13 


Robinson AJP. XXV, 1904, p. 188) or κωμῳδοποιός (263 8. Ο. 
and 259 B.c.). When poets appear new plays are produced and 
the poets act as didascali according to the traditional Athenian 
custom; but τραγῳδοί and κωμῳδοί bring out old plays.’ It is 
thus that we must interpret 7G. VII 542, 543, which give the 
victors at the Sarapieia at Tanagra, and JG. VII 2727, the list 
for the Soteria at Acraephia, both of the early part of the first 
century B.C.” 

We may consider the fact established that τραγῳδοί and κωμῳ- 
δοί at Delos and Delphi mean ‘“actor-managers” and ‘actors of 
old plays” respectively. It is entirely consistent with this con- 
clusion (viz., that these persons were actors and not singers) that 
some of the very persons who are mentioned in these lists appear 
in the Athenian records among the victorious ὑποκριταί, Thus, 
of the Delphic κωμῳδοί the following appear at Athens as ὕπο- 
κριταὶ κωμικοί. Autolycus, Demeas, Cephisodorus, Lyciscus, 
Philonides; of the Delian, Hieronymus, Menecles, Philonides, 
Polycles; of the Delphic τραγῳδοί: Alexandrus, Arcesilaus, Hera- 
cleitus; of the Delian: Aristarchus, Cleodorus.* But there are 
cases that are even more specific: Cephisius, who is κωμῳδός at 
Delos in 282 and 279, acted (ὑπεκρίνετο) at Athens the Mazno- 
menos of Diodorus in 288 B.c. So Polyxenus, κωμῳδός at Delos 
a century later, 172 B.c., took the leading réles in comedies 
at Athens ca. 185-170 Β. 0. Other instances of this complete 
identification of the business of the tpaywdes with that of the 
ὑποκριτής will be found in the Prosopographia at the end of this 
treatise. And this result is exactly what we have found (above, 
pp- 5 £.) to be true in Athenian documents, where Neoptolemus the 
᾿ ὑποκριτής is classed among the τραγῳδοί who, from 386 down, 
yearly brought out old plays at the Dionysia. There seems to be 
no question that τραγῳδός always meant, both in Athens and out- 
side Attica in agonistic documents, ‘‘actor of an old play.” The 
main contention of Richards certainly is wrong. 


1 Probably the prominent actors who were present on these occasions and brought out 
old plays as τραγῳδοί and κωμῳδοί served as ὑποκριταί for the production of the new plays, 
just as in the Athenian Didascaliae Neoptolemus, for example, brings out an old play as 
Tpaywdos and serves as ὑποκριτής in three new plays at the same festival. 

2Tn 542 and 543 the headings are in the accusative, e. g., τραγῳδούς, sc. ἐνίκα, 

3 For the details see under these names in the Appendix, 


14 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


We have other records, some of them cited by Richards, which 
point to the same conclusion. In the well-known Corcyrean 
inscription JG. IX 694, ll. 20 ff., provision is made for supplying 
at the local Dionysia in alternate years three flute-players, three 
τραγῳδοί, and three κωμῳδοί. Liders and A. Maller’ understand 
τραγῳδοί and κωμῳδοί to mean in this case protagonists who had 
their troupes with them and who entered into competition with 
one another. This is the only interpretation that permits of a 
satisfactory explanation of the flute-players. The three τραγῳδοί 
and the three κωμῳδοί represent three tragic and three comic 
companies. Each company has its flute-player, each of the three 
flute-players serving a tragic and a comic company. Were we to 
apply the analogy of the Delphic lists of performers, there would 
be one company of three τραγῳδοί and one company of three 
κωμῳδοί, and only two flute-players would be needed. 

Again, we have an interesting decree respecting the inhabi- 
tants of Iasos passed by the guild of Dionysiac artists which had 
their headquarters at Teos. The guild resolves to send free of 
charge to the [asians two αὐληταί, two τραγῳδοί, two κωμῳδοί, one 
κιθαριστής, and one κιθαρῳδός to participate in the celebration of 
their Dionysia. In this inscription also τραγῳδοί and κωμῳδοί 
must be understood to mean “‘actor-managers,’’ each accompanied 
by his troupe. Liiders (p. 125), anticipating the interpretation 
which Richards brings forward, points out that the sense of sing- 
ers or declaimers is excluded by the fact that the artists assigned 
had to bring with them their ὑπηρεσία," which as singers or as 
declaimers they would not need (οἵδε ἐνεμέθησαν σὺν ταῖς ὑπηρε- 
alas). 

We may cite finally a decree of the Dionysiac guild of Ptole- 
mais of the middle of the third century. It is an honorary decree 
signed by the members of the guild. The names of the actor- 
element are arranged as follows: 1 tpaywdds, 6 κωμῳδοί, 4 συν- 
αγωνισταὶ τραγικοί (see below, p. 29), 1 χοροδιδάσκαλος, and then, 
after a lacuna of seven lines, 1 αὐλητὴς τραγικός. We may con- 


| Loaders Dion. Kiinat., p. 121, and Miller Bahnenalt., p. 388. 


2Which doubtless means their συναγωνισταί, and not, as Liders thought, their appa- 
ratus. A. Maller, p. 203, n. 5, and p. 406, thinks of the theatre-servants rather than of the 
subordinate actors. 


TERMINOLOGY 15 


clude that this club was able to furnish one company of tragic 
actors and six companies of comic actors. The lacuna of seven 
lines is significant. A. Kérte N. Jahrb. f. klass. Alt. III (1900), 
p. 86, n. 5, thinks that the names of seven choreutae were written 
here. In that case the number of the chorus would be the same 
as that of the comic chorus at Delphi in the middle of the third 
century, and the choreutae formed both the comic and the tragic 
chorus. 

Where the terms τραγῳδός, κωμῳδός, and ὑποκριτής appear in 
the same inscription, we can now have no doubt that the two 
former are actors of old plays, while ὑποκριτής unqualified means 
actor of a new play. We have found this to be true in the 
Athenian Fasti (entries of the years 386 and 339), in the Soteric 
inscriptions of 272-269, and the Delian lists scattered over the 
period 284 to 172, when compared with corresponding Athenian 
documents, though in Athens and Delos only the actor-manager 
of an old play, in Delphi all the actors in an old play, are so 
designated.’ Further, we nowhere find τραγῳδός and κωμῳδός 
referring to actors of a new play. ὑποκριτής, on the other hand, 
is used of the actor of a play, i. e., the protagonist, whether the 
play is new or old. But whenever an old play is referred to and 
the actor is designated as ὑποκριτής, the qualification παλαιᾶς 
τραγῳδίας or παλαιᾶς κωμῳδίας is employed.’ 


1The Delphic lists stand alone in designating all the actors as tpaywdot and κωμῳδοί, 
The first person named in each group is not the actor-manager of the troupe, because a 
didascalus is mentioned with each group. The companies consisted of protagonists—all_ 
star casts —and brought out old plays. Demeas, the second actor in his group in the year 
270, appears as a protagonist in the Athenian Victors’-list as early as ca. 289 B.c. Cf. also 
Heracleitus and Polycles. 

2For example, 7G. VII 420 (Oropus): ποιητὴς σατύρων᾽  Φιλοξενίδης Φιλίππου ᾿Ωρώπιος, | 
τραγῳδίας παλαιᾶς ὑποκριτής" | Φιλοκράτης Θεοφάντου Θηβαῖος, κωμῳδίας παλαιᾶς ὑποκριτής | Zwidos 
Ζωίλον Συρακόσιος, | τραγῳδίας καινῆς ποιητής" | Πρώταρχος ᾿Αντιμένους Θηβαῖος, | ὑποκριτής" | Φιλο- 
κράτης Θεοφάντου Θηβαῖος, | κωμῳδίας καινῆς ποιητής" | Χιόννης Διογειτώνδον Θηβαῖος, | ὑποκριτής" 
Πολύξενος ᾿Ανδρύτα ᾿Οπούντιος. One other agonistic inscription of this class, TG. VII 1760 
(Thespiae) is formulated in this way. Usually instead of ὑποκριτὴς παλαιᾶς τραγῳδίας (κωμῳ- 
δίας) we have simply τραγῳδός (κωμῳδός), e. g., 16. VII 3197 (Orchomenus): κιθαρῳδός "  Δημή- 
τριος Παρμενίσκου Καλχηδόνιος, | tpaywdds: Ἱπποκράτης ᾿Αριστομένους Ῥόδιος, | κωμῳδός - | Καλλί- 
στρατος Ἑξακέστου Θηβαῖος, | ποιητὴς σατύρων "  ᾿Αμινίας Δημοκλέους Θηβαῖος, | ὑποκριτής " | Δωρόθεος 
Δωροθέου Ταραντῖνος, | ποιητὴς τραγῳδιῶν "] Σοφοκλῆς Σοφοκλέους ᾿Αθηναῖος, | ὑποκριτής "  Καβίριχος 
Θεοδώρον Θηβαῖος, | ποιητὴς κωμῳδιῶν " [᾿Αλέξανδρος ᾿Αριστίωνος ᾿Αθηναῖος, | ὑποκριτής "1 Ἄτταλος 
᾿Αττάλου ᾿Αθηναῖος, In one inscription, 7G. VIL1773 (Thespiae), we find in 1. 22 the pleonastic 
expression τραγῳδός παλαιᾶς τραγῳδιᾶς, In 1. 20, on the other hand, Lolling reports -IS πα- 
λαιᾶς κωμῳδίας, which Dittenberger naturally restored [ὑποκριτ]ής, etc. All previous editors 
omit the line entirely, but Bockh conjecturally restored [κωμῳδὸς παλαιᾶς κωμῳδίας]. If 
Lolling is right, the inconsistency of usage is to be noted; but probably the scribe wrote 
κωμῳδός as he did τραγῳδός in 1. 22, 


16 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


We may now consider the use of τραγῳδῶν and κωμῳδῶν as 
headings in the Athenian Fasti, 7G. II 971. Under these head- 
ings in each year-list we find recorded the choregus and poet (as 
didascalus) and after the establishment of the actors’ contest also 
the protagonist. Similar genitives are used for the dithyrambic 
victors, viz., the tribes, but here not as headings but as a part of 
the entry, e. g., Oivnis παίδων. But doubtless this is simply a 
difference in the order of words, the purpose being to save space, 
and does not signify a different construction of the genitive. 
The simplest explanation of these genitives is to regard them as 
partitive, depending on the οἵδε νενικήκασιν of the general heading 
of the Fasti, so that the year-list of the year 421, for example, 
would read:' 

"Emi ᾿Αλκαίου (ἐνίκων) maldwv: ἽἹπποθωντίς, ᾿Αρίσταρχος Δεκείλειεὺς) 

χορηγῶν. ἀνδρῶν ᾿Αἰαντίς, Δημοσθένης χορηγῶν. κωμῳδῶν ὁ δεῖνα χορηγῶν, 
Εὔπολις διδάσκων. 
Since the prize was awarded to the choregus, as well as to the 
didascalus and actor and tribe,” we must understand the verbs 
ἐδίδασκε and ἐχορήγει as equivalent to διδάσκων ἐνίκα and χορηγῶν 
ἐνίκα. 

The difficulty with this explanation is that, if τραγῳδῶν in 
these headings means ‘‘of the tragic performers,” the choregus 
cannot be included in this category. As Bethe rightly asserts, 
he was certainly not a member of the tragic company. But is 
the objection really valid? I think not. In fact it was because 
the choregus was not, strictly speaking, a member of the com- 


1 Mention should be made of Bethe’s interpretation of the phraseology of the Fasti, 
De scaenicorum certaminum victoribus, p. 6. He would paraphrase thus: κωμῳδῶν (χορὸς 
ἐνίκα, @) | Εὐρυκλείδης ἐχορήγει | Εὐφρόνιος ἐδίδασκεν, | τραγῳδῶν (χορὸς ἐνίκα, ᾧ) | Ξενοκλῆς ᾿Αφι- 
δνα(ϊος) ἐχορηγει, Αἰσχύλος ἐδίδασκεν, His comment is: “" testatur enim titulus ita suppletus, 
in cortaminibus scaenicis nec choregos nec poetas certasse sed choros.”’ An obvious objec- 
tion to this view is the formulae of the choregic inscriptions, an example from which is 
given above, and of, ὁ. g., 7G. IT 1289. Here there are no ellipses, the dative τραγῳδοῖς 
appears and not the genitive, and the chorus is not mentioned at all, Further, in the 
Victors’-lists the heading of the section for tragic poets is (νῖκαι) ποητῶν τραγικῶν. 

Bethe misunderstands Arist. £q. 521 and Av. 445 and 1102 when he contends that the 
victory went tothe chorus. It is true that the chorus was the instrument with which the 
poet (but as didascalus, not as poet) competed, as the horses were the means by which the 
charioteer competed. Aristophanes is thinking of the victory to be awarded, not to his 
chorus as such, but to himself. 


2As is proved by the choregic inscriptions, δ. g., 10. IL 1241, Θράσυλλος... ἀνέθηκεν 


χορηγῶν νικήσας, 


TERMINOLOGY 17 


pany, and yet was one of the competitors for the prize given to 
the choregus of the company which should win the approval of 
the judges, that, in my opinion, the peculiar phraseology which 
we find in the Fasti was adopted. If the entry had been ὁ δεῖνα 
χορηγῶν, the choregus would have been included as one of the 
Tpaywool; as it is, he counted among the victors, but not as one 
of the τραγῳδοί. The didascalus, on the other hand, is properly 
reckoned in the Fasti as one of the tragic or comic company. 
Our conclusion would be, therefore, that the generic term τραγῳ- 
dav, as it appears in probably the earliest Athenian document in 
which it is used, means “tragic company,’’ and that under this 
term are embraced the chorus, the poet, and the actors. 

Another explanation is, however, admissible and perhaps prefer- 
able. It may be that the heading τραγῳδῶν goes back to the 
time when the poet was an actor and before there was a choregus 
outside of the tragic company. Before the choregic system was 
established the tragic company consisted of chorus and actors; 
the poet was not only a member of the company as one of the 
actors or the only actor, but he was in the true sense the choregus 
or “leader of the chorus.” By the new system a citizen was 
appointed as quasi ‘‘chorus-leader,” though he did not actually 
perform this function. But in the official records the didascalus and 
the choregus were still treated as ‘‘members of the tragic company.” 

The same explanation holds good for /G. II 1289 as it stands 
in the improved text now found in Wilhelm Urk., p. 210: ποιητὴς 
τραγωιδοῖς ἐνίκα | Φανόστρατο |s ‘Hpaxdetdov ᾿Αλικαρνασσεύς, | ὑπο- 
κριτὴς τραγωιδοῖς ἐνίκ[ α “Ἱερομνήμω)ν Εὐανορίδου Κυδαθηναιεύς. 
These are the victors at the Lenaea of 800 Β.σ. ‘As poet for 
the tragic company’’ and “(85 actor for the tragic company”’ ex- 
press the idea satisfactorily. As a ‘“‘choregic” inscription (it is, 
however, from the period of the ‘“‘choregia of the demus’’) this 
document stands halfway between the Fasti, which recognizes the 
poet only as didascalus, and the Didascaliae, which recognizes 
him as poet; cf. 7G. II 974c, Wilhelm, p. 45 (311 B.c.), and 
975 (of the third and second centuries) ; see below, p. 50. 

Our study of the inscriptional evidence leads us to expect in 
literary usage the following meanings of these words: (1) τρα- 


13 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


γῳδοί, “tragic company” as a whole, (2) a τραγῳδός may be any 
member of the company: poet, actor, or member of the chorus, 
(3) in the course of differentiation which the term underwent, 
especially after old plays were excluded from the contests and were 
given as extras, τραγῳδός came to mean the actor-manager of an 
old play, and (4) finally passed into literature as an honorific 
term for a tragic actor of the first rank, or protagonist. What is 
true for τραγῳδός holds good also for κωμῳδός. 

Let us first take up the passages where the words in question 
mean “tragic company” and ‘‘comic company.’ Aristophanes 
frag. 149 Kock perhaps best illustrates this use: 


A. καὶ tives ἂν dev; B. πρῶτα μὲν Σαννυρίων 
‘ * ” > ‘ ἈΝ -“ -“ ~ 

ἀπὸ τῶν Tpvywdav, ἀπὸ δὲ τῶν τραγικῶν χορῶν 

Μέλητος, ἀπὸ δὲ τῶν κυκλίων Κινησῶς. 


A. had asked the question: ‘‘Who would dare go down to the 
path of the shades and gates of darkness?” B. had answered: 
“In public assembly we chose one from each profession, one whom 
we know to be a frequenter of the lower world, etc.” Then after 
a few lines A. asks again, ‘Who might the envoys be?” The 
answer is: ‘‘Sannyrion representing the comedians, Meletus the 
tragedians, and Cinesias the dithyrambic poets.” We must of 
course regard ὁ τραγικὸς χορός and of τραγῳδοί as convertible terms; 
Aristophanes might, had he chosen, have spoken of Meletus as 
ἀπὸ τῶν τραγῳδῶν and Sannyrion as ἀπὸ τῶν κωμικῶν χορῶν. 
Both were poets, as was Cinesias. Hence it is evident that οἱ 
τρυγῳδοί (i. e., οἱ κωμῳδοί) and of τραγῳδοί are both terms for the 
comic and tragic companies as a whole, of which the poet was an 
important member. 

Arist. Oecon. 1. 4. 1844 a 20: ἡ δὲ διὰ τῆς κοσμήσεως οὐδὲν 
διαφέρουσ ἀ ἐστι τῆς τῶν τραγῳδῶν ἐν τῇ σκευῇ πρὸς ἀλλήλους ὁμιλία. 
The ὁμιλία of “singers” in this instance seems pointless. The 
phrase πρὸς ἀλλήλους ὁμιλία does not admit of Richards’ serviceable 


v1 


evasion “the tragic stage.”' The safe course is to interpret gen- 


erally, “the tragic company.” 


ΤΕ is hard to see how anyone could suspect, with Richards, p. 206, that the writer of 
this passage was not δ fully master of the delicacies of Attic speech.” 


TERMINOLOGY 19 


In the well-known passage in Arist. Poet. 5 1449 ὃ 1, καὶ yap 
χορὸν κωμῳδῶν ὀψέ ποτε ὁ ἄρχων ἔδωκεν, ἀλλ᾽ ἐθελονταὶ ἦσαν, the 
ἐθελονταί were the κωμῳδοί, i.e., all who took part in the produc- 
tion of a κωμῳδία. The archon granted the chorus to the didas- 
calus; all who were trained by him were κωμῳδοί. In the early 
period the didascalus himself was included in the comic company. 
Here Aristotle uses the traditional phrase, in which all the com 
pany were conceived of as embraced under the chorus. 

Similar are three passages in Aristophanes: Pax 806, ἡνίκα 
TOV τραγῳδῶν τὸν χορὸν εἶχον ἀδελφός τι καὶ αὐτός. Av. 787, εἶτα 
πεινῶν τοῖς χοροῖσι τῶν τρωγῳδῶν ἤχθετο: and Vesp. 1537, τοῦτο 
γὰρ οὐδείς πω πάρος δέδρακεν, ὀρχούμενον ὅστις ἀπήλλαξεν χορὸν 
τρυγῳδῶν. In these cases τραγῳδῶν and τρυγῳδῶν have their gen- 
comic players.” χορὸς τραγῳδῶν means 
“chorus composed of tragic performers.” While every man of the 


eric meaning “tragic,” “ 
chorus in the stricter sense must be a τραγῳδός, of course not 
every τραγῳδός is necessarily a member of the chorus. The 
expression cannot be used to prove that the τρωγῳδοί comprised 
the members of the chorus and no one else. 

In Aesch. Ctes. 204 we find μελλόντων τραγῳδῶν εἰσιέναι. The 
generic and personal force is felt here also. It cannot be said 
that the entrance of the chorus marked the beginning of the per- 
formance, and, further, the verb εἰσιέναι seems to preclude the 
meanings “tragic performance”’ and ‘‘tragic stage.” 

Apparently of similar force is Xen. Oecon. 3. 9, θεᾷ yap αὐτοὺς 
ἥπερ τοὺς τραγῳδούς TE Kal κωμῳδούς. 

The instances cited are sufficient to show that in the literature 
of the fifth and fourth centuries, as well as in the inscriptions, τρα- 
γῳδοί and κωμῳδοί were used of the company of players, tragic or 
comic. This being so, we must expect that, on occasion, accord- 
ing to the point of view of the writer, the word τραγῳδοί may 
mean ‘‘poets” rather than ‘‘actors” or ‘‘chorus;” that again it 
may mean “actors” rather than “poets” or ‘members of the 


chorus ;” 


and finally that it may refer chiefly to the members of 
the chorus. We give first the passages where ‘‘poets” lie upper- 
most in the writer’s mind. 


Aristoph. Vesp. 1480, καὶ τοὺς τραγῳδούς φησιν ἀποδείξειν 


20 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


Κρόνους τοὺς viv διορχησάμενος ὀλίγον ὕστερον. Ibid. 1498, εἴ τις 
τραγῳδός φησιν ὀρχεῖσθαι καλῶς, and ibid. 1505, ἕτερος τραγῳδὸς 
Καρκινίτης ἔρχεται. To interpret these passages correctly one 
must understand the context thoroughly and must have ll. 1473- 
1517 especially in mind. If τραγῳδός here means singer or dan- 
cer, then we must accept the strained conclusion (see scholl. ad 
1479, 1502) that Thespis and Phrynichus here referred to are not 
the famous tragic poets but obscure singers and dancers. As 
regards the sons of Carcinus, we know that one of them, Xenocles, 
was a tragic poet (Thesm. 189, Ran. 86). To regard them as 
simply dancers would be to miss the sense and the humor of the 
passage. Philocleon’s object was to show that the real dotards 
are the moderns; they cannot compare with the old poets who 
led their own choruses—Thespis and Phrynichus. The sons of 
Carcinus are introduced as a parallel. The reference is clearly to 
them as poets.’ 

In certain other passages the language of τραγῳδοί and κωμῳδοί 
is spoken of; the poets, as the ultimate source of the words of 
actors and chorus, must be referred to. Crates, frag. 24 Kock, 
τοῖς δὲ τραγῳδοῖς ἕτερος σεμνὸς πᾶσιν λόγος ἄλλος ὅδ᾽ ἔστιν. Diphi- 
lus, frag. 30 Kock, ὡς of τραγῳδοί φασιν οἷς ἐξουσία ἔστιν λέγειν 
ἅπαντα καὶ ποιεῖν μόνοις. Arist. Poet. 22 1458 b 8, ᾿Αριφράδης 
τοὺς τραγῳδοὺς ἐκωμῴδει, ὅτι οὐδεὶς ἂν εἴποι ἐν τῇ διαλέκτῳ τού- 
τοις χρῶνται. If one reads the context it will readily be admitted 
that Aristotle is referring to poets. He has just shown how, by 
the alteration of a single word in an iambic line which both had 
composed alike, Euripides had improved upon Aeschylus. He 
then goes on to say that Ariphrades ridiculed the κωμῳδοί because 
they use phrases which do not occur in ordinary speech. If the 
words in these passages be taken as not necessarily referring to 
poets but rather to the performers, in none of them can the per- 
formers be restricted to the chorus. And in the last passage as 

1So Blaydes ad Vesp. 1490: rem autem extra controversiam ponere videntur ista vv. 
1478-1481 (ὀρχούμενος... Tapyac’ ἐκεῖν᾽, ote.), unde constat non coaevi alicuius saltatoris, 
sed inclyti illins saltatoris tragici antiqui σχήματα exprimere temporis acti laudatorem 
Philocleonem. See also Starkie's note ad loc., and ef. Athen. 22a and Frohde Technik ἃ. alt. 
att. Komédie, p. 116,0,.: “An einem Tanzer Phrynichos darf man mit Meineke Harwardt. 


Progr. 16 und Leeuwen abor nicht denken, 5, Halbertsma 8S. 8.) Richards follows 
Meineke. 


TERMINOLOGY Zit 


well as in the preceding the tone is so distinctly personal that 
Richards’ meaning ‘tragic stage’’ seems inadmissible. 

Let us next consider a passage from the comic poet Timocles, 

frag. 6 Kock: 

τοὺς yap τραγῳδοὺς πρῶτον, εἰ βούλει, σκόπει; 

ὡς ὠφελοῦσι πάντας. 6 μὲν ὧν γὰρ πένης 

πτωχότερον αὐτοῦ καταμαθὼν τὸν Τήλεφον 

γενόμενον ἤδη τὴν πενίαν ῥᾷον φέρει. 
Here again it is better to take τραγῳδούς as referring to the poets 
who present the characters to us and are the ultimate source of 
the plot as well as of the language. 

Aristoph. Vesp. 650, χαλεπὸν μὲν καὶ δεινῆς γνώμης καὶ μείζονος 
ἢ ᾽πὶ τρυγῳδοῖς. τρυγῳδοῖς in this passage clearly refers to the 
poet as the one who is to cure the malady in the body politic. 
Starkie well translates: “It is a hard task and one that requires 
a judgment of portentous power and greater than is to be 
expected in a comic poet, to cure the disease that has eaten into 
the vitals of the state.”’ 

Again, in Plat. Legg. 935d, τί δὲ δή; τὴν τῶν κωμῳδῶν Tpo- 
θυμίαν τοῦ γέλοια εἰς τοὺς ἀνθρώπους λέγειν 7) παραδεχώμεθα: the 
meaning of κωμῳδῶν is clearly defined by the context. The next 
sentence begins with the distribution of κωμῳδῶν: ποιητῇ δὴ 
κωμῳδίας ἢ τινος ἰάμβων ἢ Μουσῶν μελῳδίας μὴ ἐξέστω 
μηδένα τῶν πολιτῶν κωμῳδεῖν. Here the word means, not merely 
poets of comedy, but comic writers in general.” 

Before leaving this topic, the use of the words τραγῳδεῖν and 
κωμῳδεῖν to denote the function of the tragic and comic poet 
respectively deserves a word (cf. Aristoph. Thesm. 85, Nub. 1091, 
Ach. 631, 655, Pax 751, and Arist. Poet. 22. 14586 31 for κωμῳ- 
δεῖν). It is hard to conceive how this use of the verb could have 
originated unless τραγῳδός and κωμῳδός were terms applied to the 
poets, or how it could have long existed without giving rise to the 
connotation “poet” in the nouns τραγῳδός and κωμῳδός. 


1 Richards, p. 206, writes: ‘‘In Ar, Vesp. 650 τρυγῳδοῖς is simple comedy.’ The whole 
tone of the passage is against this, I think. It is distinctly personal. In fact, the word 
γνώμης forces us to take τρυγῳδοῖς in a personal sense. The ‘‘comic stage” can have no 


γνώμη. 
2 Φονγοῦῦ: ‘‘But then, do we admit into our state the comic writers who are so fond of 
making mankind ridiculous?” “ΔΑ comic poet or a maker of iambic or satirical verse shall 


not be permitted to ridicule any of the citizens.” 


22 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


While the specific term for actor was ὑποκριτής (τραγικός or 
κωμικός), we should expect that the actors, as well as the poets, 
could be referred to under the general title τραγῳδοί and κωμῳδοί, 
“tragedians” and “comedians,” ‘‘members of the tragic and comic 
companies.” Plato Phaedr. 236 c seems to be the earliest certain 
example of this usage, ἵνα δὲ μὴ τὸ τῶν κωμῳδῶν φορτικὸν πρᾶγμα 
ἀναγκαζώμεθα ποιεῖν ἀνταποδιδόντες ἀλλήλοις. The reference is to 
the logomachy which takes place between the actors, either in the 
agon proper, as in Aristoph. Hq. 361 ff., or in the portion of the 
play that leads up to the agon, as ibid. 386 ff. The chorus takes 
no part in the ἀνταπόδοσις proper.’ 

That Demosthenes De pace 7, εἰ yap ἐν Διονύσου τραγῳδοὺς 
ἐθεᾶσθε, is thinking of the tragic actors and their contest more 
particularly we have already shown (above, pp. 6 ff.). The use of 
the verb in De cor. 13 is a parallel case, where he says of Aeschi- 
nes, ἡλίκα viv ἐτραγῴδει καὶ διεζήει. The word implies not only 
pomposity but dissimulation, though far less of this than our 
“hypocrite.” Demosthenes virtually calls Aeschines a tpaywdds 
and a ὑποκριτής, in each case referring to his career as an actor. 
Further, Demosthenes retains in the verbs the fundamental dis- 
tinction of meaning which exists in the nouns, denoting a member 
of the tragic troupe and emphasizing the general characteristics 
of “tragedians,” i.e., their pomposity; ὑποκριτής, on the other 
hand, denotes the actor and emphasizes the essential characteris- 
tic of his trade, viz., deception and simulation.’ 

We turn now to the use of these terms in application to the 
members of the chorus. The specific term is χορευταί. But, just 
as in the case of the poets and actors, the Attic writers of the tifth 
and fourth centuries employed τραγῳδοί and κωμῳδοί when they 
had in mind, not the whole company of tragedians and comedians, 
but only or chiefly the members of the chorus. This usage is 
best illustrated by the common phrase τραγῳδοῖς χορηγεῖν, “to be 
choregus for the τραγῳδοί We know that the duty of the 


See W. H. Thompson's edition of the Phaedrus, p. 23. The part of the chorus in the 
agon was probably limited to the ᾧδαί and κελεύσματα, Zielinski Glied. ἃς altatt, Kom., pp. 
117, 811, 

2Goodwin's note on the passage is: “ ἐτραγῴδει καὶ διεζήει set forth in his tragic style 
(i.@., pompously), referring to the theatrical days of Aeschines, like ὑποκρίνεται 15, 4, οἵ, XIX, 
189, ταῦτα τραγῳδει," Cf. on 15, 4: " ὑποκρίνεται, he plays his part.”’ 


TERMINOLOGY 23 


choregus was to defray the expenses of the chorus; and in this 
phrase no doubt it was felt that the chorus was chiefly in the 
mind of the writer.' We need cite only a few passages to illus- 
trate this common usage. Lysias 19. 29, τραγῳδοῖς dis χορηγῆσαι, 
and 21.1, καταστὰς χορηγὸς τραγῳδοῖς ; Arist. Eth. Nic. 1123.4 23; 
κωμῳδοῖς χορηγῶν; Dem. 21. 59, τοῦτον ἐμισθώσατό τις φιλόνικος 
χορηγὸς τραγῳδῶν. But one must not infer from this or similar 
phrases that τραγῳδοί and κωμῳδοί meant only the members of the 
chorus. 

τραγῳδοί and κωμῳδοί were often used for the dramatic per- 
formance, 6. g., Aesch. Ctes. 45, ἀπείπῃ μὴ κηρύττεσθαι τοῖς τραγῳ- 
dois, bid. 80, and 176. Similar is Aesch. Ctes. 41, γιγνομένων 
τῶν ἐν ἄστει τραγῳδῶν, and 34, τραγῳδῶν ἀγωνιζομένων καινῶν, 
‘during the performance of new tragedies;” also ibid. 154 and 
Tim. 157. Many other occurrences of these terms can best be 
interpreted on the analogy of this usage. Plat. Rep. 395 a, ἀλλ᾽ 
οὐδέ τοι ὑποκριταὶ κωμῳδοῖς τε Kal τραγῳδοῖς οἱ αὑτοί; Aristoph. 
Av. 512, ὁπότ᾽ ἐξέλθοι Τ]ριαμός τις ἔχων ὄρνιν ἐν τοῖσι τραγῳδοῖς : 
id. Pax 5830, Διονυσίων, αὐλῶν, τραγῳδῶν, Σοφοκλέους μελῶν, κι- 
χλῶν. In a medley like this the meaning “tragic performance” 
will fit the context as well as any. Xen. Oecon. 3. 7, ἐπὶ μὲν 
κωμῳδῶν θέαν; Andoc, 4. 42, νενικηκὼς evavdpia καὶ λαμπάδι Kal 
λαμπάδι Kal τραγῳδοῖς; Isaeus 5. 36, τῇ μὲν φυλῇ εἰς Διονύσια 
χορηγήσας τέταρτος ἐγένετο τραγῳδοῖς καὶ πυῤῥιχισταῖς ὕστατος. 
The fact that in these expressions the performers are put for the 
performance shows that τραγῳδοί and κωμῳδοί in actual usage, 
irrespective of their etymology, comprised all the performers.” 

The following passages from the later literature show that the 
words τραγῳδός and κωμῳδός were unequivocally used in the sense 
of actor, and more particularly of the protagonist who brought 
out an old play. The fact is best illustrated by bringing together 
the terms used in describing the famous actors of the fifth and 
fourth centuries. Thus, Andronicus is spoken of by Lynceus, 
quoted by Ath. 584 d, as τραγῳδός, by Machon ibid. 581 e as 


1 Because of the etymology of χορηγεῖν if for no other reason. But it seems that the 
duties of the choregus extended to little else than providing for the chorus. 

2In the new Menander, Epitrep. 108 van L., τεθέασαι τραγῳδούς = τραγῳδίας, in Sam, 245, 
οὐκ ἀκήκοας λεγόντων τῶν τραγῳδῶν = ὑποκριτῶν --- both times of old plays. 


24 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


ὑποκριτής. Aesopus, described by Plut. Vit. Cic. 5 as tpaywdds, is 
in the same context spoken of as ὑποκρινόμενος. Athenodorus is 
tpaywoes in Plut. Mor. 234d, Ath. 538 f, but is ὑποκριτής in Plut. 
Vit. Alex. 29 and in JG. ΤΙ 971 f and h, and the verb ὑποκρίνεσθαι 
is used of him by Ath. 538 f, ὑπεκρίθησαν δὲ τραγῳδοὶ μὲν Θεσσαλὸς 
καὶ ᾿Αθηνόδωρος. So Callippides, τραγῳδός in Ath. 535 d, is 
ὑποκριτής in IG. ΤΙ 972 col. ii and in Polyaenus 6. 10, is ὁ τῶν 
τραγῳδιῶν ὑποκριτής in Plut. Vit. Ages. 21, ὑποκριτὴς τραγικός in 
IG. ΤΙ 977 rs and Plut. Mor. 348 f. Leonteus is referred to in 
Ath. 343 eas tpaywdos . . . . ὅτε κακῶς τὴν ὙὝψιπύλην ὑπεκρίνατο. 
Plutarch Mor. 334 f speaks of Lycon as κωμῳδός, so also Ath. 
538 f; but in 7G. 11 977 & he is ὑποκριτὴς κωμικός and Ath. loc. 
cit. uses of him the verb ὑποκρίνεσθαι. Diodorus 16. 92 speaks 
of Neoptolemus as τραγῳδός, in Dem. 5. 6 he is ὑποκριτής, in Stob. 
Anth. 98. 70 (III, p. 233 Meineke) ὁ τῆς τραγῳδίας ὑποκριτής, in 
TG. ΤΙ 973 ὑπεκρίνετο and ὑποκριτής are used, and in 7G. II 977 
he is ὑποκριτὴς τραγικός. Polus is spoken of as τραγῳδός in Plut. 
Mor. 785 b, but in 348 f and in Luc. Apol. 5 he is τραγικὸς ὑπο- 
κριτής. while in Plut. 816 fhe is designated as ἐν τραγῳδίᾳ πρω- 
ταγωνιστής. Cf. also Vit. X. Orat. 848 ὃ (ὑποκριτής) and Plut. 
Epist. de amicitia, Bernadakis VII, p. 117 (Il@Xos τὸν τύραννον 
Οἰδίποδα ὑπεκρίνετο). Thettalus, τραγῳδός in Ath. 538 fand Plat. 
Mor. 334 d, in Plut. Vit. Alex. 10 is ὁ τῶν τραγῳδιῶν ὑποκριτής 
and in JG. II 971 egh, 973, and 977 pt is called ὑποκριτής, 
and ὑποκρίνεσθαι is used of him in Ath. 538 f and JG. II 973. 
So finally Theodorus, referred to by Plut. Mor. 737 6 as τραγῳδός, 
is called ibid. 848 f τραγικὸς ὑποκριτής, by Aelian Var. hist. 14. 40 
ὁ τῆς τραγῳδίας ὑποκριτής. by Arist. Pol. 1336 b 28 ὁ τῆς τραγῳδίας 
ὑποκριτής, in IG. IL 977 ἐ he is ὑποκριτὴς τραγικός, and in a 
Delphic inscription BCH. XXVII, p. 13, he is designated simply 
ὑποκριτάς, while Plut. Mor. 816 f calls him “ protagonist,” and the 
verb ὑποκρίνεσθαι is used concerning him by Dem. 19. 246, Paus. 
1.37. 3. Instances might be multiplied, but the above will suffice 
to show that τραγῳδός and κωμῳδός have become in later writers 
the suitable honorific terms for the eminent actor of tragedy or 
comedy where Attic writers of the classical period preferred the 
less pretentious term ὑποκριτής  {Ππαΐ in later writers the phrase 


TERMINOLOGY 25 


which simply defines the function, ὑποκριτὴς τραγικὸς or κωμικός, 
is still in common use, and that in all periods the verb by which 
is indicated the work of the actor is ὑποκρίνεσθαι. This result is 
in accord with the observation made by the scholiast to Dem. De 
pace 6 which we discussed above (pp. 6 ff.). 

It is rather unprofitable to discuss in detail the many passages 
in later Greek literature in which Mr. Richards thinks he finds in 
τραγῳδός the meaning ‘‘singer.” In the first place he starts on 
the wholly erroneous assumption, as we have seen, that the word 
does not mean either ‘‘poet” or “actor” in the classical literature 
and that in the Soteric inscriptions and similar documents the 
function of the τραγῳδός and κωμῳδός was singing. Therefore in 
miscellaneous passages in later writers he either demands positive 
proof in each case that the word means “actor,’”’ or he endeavors 
to find presumptive evidence that the real meaning is “singer.” 
Nowhere in his discussion are the faults of his method more 
apparent. It is obvious that he has often used the lexica and 
special indices without inspecting the context, drawing his deduc- 
tions merely from the occurrence of the noun or verb in the brief 
phrases quoted. An illustration or two will suffice. He writes, 
p. 212: “And sometimes it is difficult to say how far plain acting 
is meant as distinguished from the acting of a singer. See for 
instances Dio Chrys. 33. 396 ο, τραγῳδόν τινα ἐπιδημήσαντα ἠνώ- 
χλουν ἐπιδείξασθαι κελεύοντες, Lucian De hist. conser. 1,’Apxedaos 
ὁ Tpaywdds . . . . τραγῳδήσας τὴν ᾿Ανδρομέδαν, and two or three 
passages in Dio Cassius in which Nero ἐκιθαρῴδησε καὶ ἐτραγῴδησεν, 
etc.” The index to Sturz’s edition of Dio Cassius has under tpayo- 
δέω: ““ἐκιθαρῴδησε καὶ ἐτραγῴδησε 1041. 55; 1042. 92; 1047. 42.” 
This phrase, however, occurs only in the first of the three pas- 
sages cited by Sturz. In 1042. 92 we read: ἤκουσα αὐτοῦ πολλάκις 
ἄδοντος, ἤκουσα KnpUTTOVTOS, ἤκουσα τραγῳδοῦντος ; in 1047. 42: 
τοιοῦτον yap δρᾶμα τότε TO δαιμόνιον αὐτῷ παρεσκεύασεν iva μηκέτι 
τοὺς ἄλλους μητροφόνους καὶ ἀλήτας ἀλλ᾽ ἤδη, καὶ ἑαυτὸν ὑποκρίνη- 
ται" καὶ τότε μετεγίνωσκεν ἐφ᾽ οἷς ἐτετολμήκει" καθάπερ ἄπρακτον 
τι αὐτῶν ποιῆσαι δυνάμενος Νέρων μὲν δὴ τοιαῦτα ἐτραγῴδει. Here 
the context shows that τραγῳδεῖν is synonymous with ὑποκρίνεσθαι. 
In 1033. 85 Dio gives a list of the plays which Nero acted, 


20 HISTORY OF ACTORS AND AOTING IN ANCIENT GREECE 


‘*Oidipous, Thyestes, Herakles, Alemaion, and Orestes ὡς πλήθει 
ὑποκρινόμενος." So too in Lucian De hist. conser. 1, where it is ex- 
plained that Archelaus ὁ τραγῳδός gave the Andromeda, and in Dio 
Chrys. 33. 396 c, σκοπεῖτε δὴ μὴ ταὐτὸ πάσχητε ᾿Ιλιεῦσιν ἐκείνοις 
οἱ τραγῳδόν τινα ἐπιδημήσαντα ἠνώχλουν, ἐπιδείξασθαι κελεύοντες. 

Again, Richards writes (p.213): ‘Though I have not noticed 
Comoedia in the generic sense of “play,” κωμῳδία seems to be 
used in Plutarch’s Moralia 665 ὁ, (ἐμοῦ δὲ παρακελευομένου καὶ 
λέγοντος καιρὸν elvac) καθάπερ ἐν κωμῳδίᾳ μηχανὰς αἴροντας καὶ 
βροντὰς ἐμβάλλοντας, where the reference must be to “tragedy.” 
But Plutarch merely says, as we read in the very next words, παρὰ 
πότον διαλέγεσθαι περὶ κεραυνῶν, that this sort of talk at a banquet 
is as absurd and inappropriate as to resort to the deus ex machina 
in comedy. 

As regards the use of τραγῳδός as “poet,’’ it is indeed rare in 
later writers as it is uncommon in classical literature, but an une- 
quivocal instance is found in Plut. Mor. 88 εἰ, ἐνδύου τῇ ψυχῆ, 
περισκόπει τὰ σαθρά, μή τίς σοί ποθεν ὑποφθέγγητα κακία τὸ τοῦ Tpa- 
γῳδοῦ "ἄλλων ἰατρὸς ἕλκεσι βρύων. So too in Lucian Anach. 22, 
τοῖς δέ γε κωμῳδοῖς Kal ἀποσκώπτειν Kal λοιδορεῖσθαι ἐφίεμεν ἐς τοὺς 
πολίτας ---ἃ passage which should be compared with Plato Legg. 
935 d—Lue. Herm. 86, Dion Chrys. 21. 72, Dion. Hal. De vet. 
script. 2. 11, τῶν δὲ κωμῳδῶν μιμεῖται τὰς λεκτικὰς ἁρμονίας. It 
is not necessary, therefore, to suspect with Richards the integrity 
of the reading τραγῳδός in the only two passages known to him, 
“which point to the second century,” viz., Bekk. Anec. 5. 33, 
Athen. 35d. The use of τραγῳδός and κωμῳδός in the sense of poet 
is indisputable in Vit. Aeschyli, p. 123. 10 Westermann, scholl. 
Aristoph. Ran. 86, 367, scholl. Dion. Thrac. in Bekk. Anee. 
p. 748. 26, and Poll. 7. 201... Homer is called τραγῳδὸς καὶ πατὴρ 
τραγῳδίας by Anon. Rhet. ed. Rabe, Rhein. Mus, LXIIT (1908), 
p. 149, 1. 2; οἵ, κωμῳδοῖς παλαιοῖς καὶ τραγῳδοῖς ibid. Eudoxus 
the poet is called a κωμῳδός by Pollux, cf. below, p. 58; perhaps 
we should correct to κωμικῶν. 


Ἰ τραγῳδοῦ should be read for τραγῳδοποιοῦ in Vit, Aeschin., p, 269. 26 Westermann, 
Maller Pdhnenalt., p. 197, n. 4, so reads without, however, mentioning his departure from 
the text, evidently on the strength of his knowledge that Ischandrus was an actor nota 
poet. Haigh Att. Theat., p. 242, n. 2, gives τραγῳδοί for τραγωδῳποιοί in Plat. Crat, 425 ἃ with- 
out such justification. 


TERMINOLOGY ἡ 


As ὑποκριτής designates an ‘actor’ with reference to his func- 
tion in the production of a play, and as tpay@dds and κωμῳδός 
respectively assign him to a company of performers of tragedy and 
comedy, so other words came into use to define him in his capacity 
as “contestant” for a prize—ayouorys and its compounds —or as 
belonging to the tribe of “artists’—texvirns. Our task is simply 
to determine when these words of general meaning came to be 
applied to actors in particular, and to learn their range and con- 
notation in this usage. The history of these words is obviously 
entirely different from that of ὑποκριτής and tpaywdes; whereas 
the latter were invented at an early period in the history of the 
drama to designate a thing that had not previously existed, and 
from general meanings gradually took on narrower special signifi- 
cations, ἀγωνιστής and τεχνίτης, on the other hand, were in use 
long before and after and independently of the drama, and in 
application to dramatic actors removed the latter from a narrower 
to a broader class. The transferred meaning is always felt, and 
neither word can by itself mean ‘‘actor,” although when actors 
are spoken of or implied, both terms could be freely applied to 
them. Obviously, however, before an actor could be referred to 
as a “contestant” or as an “artist,” acting must have come to be 
regularly associated with contests and the art of acting to be 
regarded as a fine art or profession. 

3. ἀγωνιστής and compounds.—Not until 449 B. o. were the 
leading actors in competing tragedies brought into organized 
competition with one another at the City Dionysia. Another 
ἀγών was thus added to the innumerable contests in which men 
possessed of physical, intellectual, or artistic ability publicly 
competed for a prize. The idea of public exhibitions of skill of 
any kind, in which judges were appointed and an award pro- 
nounced in favor of the most excellent, seems to have been 
inherent in the Greek mind.’ The words ἀγών, ἀγωνίζεσθαι, ayo- 
νιστής, however, are not found in this connection until the classical 
period of Greek literature. After the contest for actors had 
been organized at Athens it followed as a matter of course that 
the terms which had long been in use for contestants in other 


1 Reisch in Pawly-Wissowa 8. v. ‘“‘Agones.”’ 


28 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


fields should be applied to contestants in this field also. ayo- 
νιστής, ἀνταγωνιστής, συναγωνιστής and the corresponding verbs 
are not found freely in the extant Greek writers in application to 
contestants in dramatic contests until about the middle of the 
fourth century, though they are implied in the few allusions to 
the victories or defeats of poets which occur in the Old Comedy.’ 
The earliest allusion in literature to the actor as contestant seems 
to be Aristotle Eth. Nic. 3. 1111 b 24: ὑποκριτήν τινα νικᾶν; cf. 
Prob. 918 b 28: ὁ μὲν ὑποκριτὴς ἀγωνιστὴς Kal μιμητής. 

These words, and the underlying idea of a contest for a prize, 
had long been in use for the parties to judicial or political con- 
tests.” Since the rivalry of actors was felt to be not unlike that 
of rival orators before the ecclesia or of defendants before the 
courts,’ it is not always possible to say whether the figurative use 
of these words in reference to dramatic contests was transferred 
directly from the regular, organized contests like the athletic 
contests, or indirectly through the medium of the judicial or po- 
litical contests. At no time in the history of Greek literature, with 
rare exceptions noted below, could any of these terms be employed 
for actors without a qualifying word or some other external indi- 
cation of the restricted sphere of application, in the meaning 
“actor,” “rival actor,’ “associate actor,” etc. In a number of 
late inscriptions, however, the words ayauorns* and συναγωνιστής 
have such a technical meaning. 

cvvayouortns.—The verb συναγωνίζεσθαι and the noun cur 
αγωνιστής are very frequently used of one who helps another in 
any contest whatsoever. They are perhaps most frequently used 
in connection with war and the courts.’ But it is not until the 
third century B. 0. that we find συναγωνιστής and συναγωνίζεσθαι 
assuming a certain technical meaning in reference to dramatic 


1The earliest occurrence seems to be Aristoph. Ach. 140: ὑπ᾽ αὐτὸν τὸν χρόνον ὅτ᾽ ἐνθαδὶ 
Θέογνις ἡγωνίξετο, Cf. ibid, 419, where the “ struggles δ of the unhappy Oeneus are alluded to, 
2 Thue. 6, 29, 8. 68; Antiphon 5, 8, 5. 4, 5. 74, and frequently in the orators. 


9Cf. Aristot. Rhet, 1408 b 9, ἀγωνιστικὴ δὲ ἡ ὑποκριτωτάτη, 


‘Poland De collegiis artificum Dionysiacorum, p. xi, and Rees So-called Rule of Three 
Actors, Ὁ. %, n. 1, give the references, 
SE. g., Thuc. 1. 143: ἐπὶ τῷ κινδύνῳ οὐδεὶς ἂν δέξαιτο, . . . ἐκείνοις ξυναγωνίζεσθαι ; Plato 


Ale. 1.119 d: ἀπέβλεπες δ' ἂν εἰς rods ἀληθῶς ἀνταγωνιστάς, ἀλλ᾽ οὐχ ὡς νῦν εἰς τοὺς σνναγωνιστάς ; 
and συναγωνίζεσθαί σοι πρὸς τοὺς πολεμίους, 
Demosthenes 48. 43 says that he would not have allowed Olympiodorus to act as he did 


TERMINOLOGY 29 


actors. In the great actors’ contests at Athens in both tragedy 
and comedy we know that the state recognized only the leading 
actor in each play as a competitor. If, then, we find the term 
“‘synagonist” applied to an actor, we are prepared, both by its 
general meaning “helper” and by the conditions of the contests, 
to understand the subordinate actor who does not himself compete 
for the prize but helps the principal actor against his antagonists. 
And so, as a matter of fact, the inscriptions which furnish us the 
evidence of this technical meaning confirm this presumption. 
The earliest epigraphical instance of synagonist is an honorary 
decree passed by the technitae of Ptolemais in Egypt in the 
reign of Ptolemy Philadelphus, BCH. IX (1885), p. 134. It is 
signed by apparently the whole membership of the guild, includ- 
ing one tragoedus, six comoedi, four tragic synagonists, etc. 
The tragoedus and the four tragic synagonists together formed a 
company of tragic actors. 

But the documents which throw the clearest light on the 
technical meaning of this term are three decrees of the town of 
Delphi which were recently published in BCH. XXX (1906), 
pp. 278 ff., of the latter part of the second century B. c. (below, 
Ρ. 71). No. 49, the most comprehensive of the three, after some 
compliments to the Athenian technitae for having sent to Delphi 
a splendid company of pythaists, goes on to mention them by 
name. After the general officers and forty-one members of “the 
great chorus” with their accompanists, come the participants in 
the thymelic and scenic contests. The participants in the scenic 
exhibitions are as follows: three auletae, four comoedi and ov 
συναγωνιξάμενοι τούτοις, six in number, five poets of satyri, two 
tragoedi and οἱ τούτοις συναγωνιξάμενοι, seven in number, and, 
finally, two tragic poets. One hundred one names are re- 
corded, but since a considerable number took part in both the 


at the last trial, εἰ μὴ μετὰ σοῦ κοινῇ συνηγωνιζόμην. Dio Cassius xl. 54 also uses συναγωνιστής 
as the equivalent of συνήγορος : ὃ Μίλων καίτοι Tov Κικέρωνα συναγωνιστὴν ἔχων. 

Aristophanes Thes. 1061, referring to the production of the Andromeda, makes Echo 
say: Εὐριπίδῃ καὐτὴ ξυνηγωνιζόμην. 

Instances might be multiplied indefinitely to show the general meaning of the term in 
application to all sorts of contests. The word is probably wrongly restored in the Delphic 
inscription SGDI. Τ| 2727, of a certain χοροψάλτρια: émedwxe[v καὶ avvayjwviféjaf[ro . . . .7 Kai 
εὐδοκίμησε ἐν τῷ ἀγῶνι Tov Πυθίων, Since she won the prize she was hardly a synagonist; 
read rather [avtay]wviéato, 


80 HISTORY OF ACTORS AND AOTING IN ANCIENT GREECE 


choral and the thymelic or scenic exhibitions, the total number 
of artists in the pythiad is about eighty. We call attention to 
the large number of persons who went from Athens to Delphi on 
this occasion especially in order that it may be seen that the 
decree mentions every participant by name and to show that 
there was apparently no tendency to economize by taking the 
smallest number of persons who could respectably give the 
tragedies and comedies. 

The scenic portion of this decree presents some interesting 
problems, for some of which no solution can at present be offered. 
We can reasonably assume that the four comoedi and six comic 
synagonists brought out four old comedies, and that one comoedus 
and the six synagonists were available for each comedy; but it is 
hard to see how the two tragoedi and their seven synagonists 
managed to bring out two old tragedies, two new tragedies, and 
five satyr-dramas. And yet it is obvious that this was the task 
to which they were assigned and that they were amply competent 
to perform it.’ We may note also that there were only three 
auletae for the thirteen plays, whereas at Delphi in the third 
century and at Coreyra in the second century we saw that there 
was one aulete for each company, i. e., for each play.’ 

It is difficult to see how the term ‘‘synagonist” came to be 
applied to athletes, yet such appears to be the case. Every ath- 
lete is an antagonist to every other in a contest. There are, of 
course, the solitary exceptions of the torch race and the boat race, 
in which the contestants took part as teams and not as individuals. 
One inscription, 7G. ITI 122, records fourteen men as winners in a 
torch race. The only athletic synagonists that we know of are 
boxers, but the relation of the synagonist to the chief competitor 
in a boxing match is not made clear in the documents: Papers 
Am. School IU, p. 167, No, 275. 11 (Pisidia): ἐὰν εὐτυχήσῃ δοῦ- 


1 It is to be noted, however, that among the theori mentioned in the early part of the 
decree are two tragic synagonists whose names do not reappear in the list of scenic per- 
formors in the second part of the decree; and also three additional auletae. Possibly 
these persons were available for the scenic exhibitions in addition to the above number, 

2In No, 45 there are eight (or 8+-) comoedi and two tragoedi, but the synagonists are 
not preserved; in No. 50 there are two (or 2+-) comoedi and 5 comic synagonists and four 
tragoedi and eight (or ΚΕ) tragic synagonists, συναγωνιστής in its technical meaning is 
found in a few other inscriptions; see in the Appendix under Damocles, Nicostratus (No, 
871), and Soteles, ete, 


TERMINOLOGY 31 


Ros veexnoas, τοῦ θέματος TO τέταρτον χωρεῖν εἰς τοὺς συναγωνιστὰς 
αὐτοῦ; Anth. Pal. xi. 80. 1: οὗ συναγωνισταὶ τὸν πυγμάχον ἔναδ᾽ 
ἔθηκεν | "Aru, οὐδένα γὰρ πώποτ᾽ ἐτραυμάτισεν. 

The Dionysiac synagonists had a guild of their own in the 
period of the Empire, τὸ κοινὸν τῶν συναγωνιστῶν. Ziebarth Griech. 
Vereinswesen, p. 79, has shown that κοινόν and σύνοδος are con- 
vertible terms,’ thus correcting Poland, who thought that the 
κοινόν was a larger organization including the σύνοδος, The vari- 
ous theories regarding the meaning of κοινόν are summed up by 
Poland De coll. artif. Dion., p. 10. It is to be noted that in most 
of the documents’ the synagonists are mentioned along with the 
technitae, the inference of Reisch De mus. cert., p. 105, and A. 
Miller Bihnenalt., p. 395, that the term “synagonist” included 
the deuteragonist and tritagonist, as opposed to the protagonist, is 
on the whole a fair one, though it assumes a definite gradation of 
the subordinate actors that is not vouched for by any document of 
the Dionysiac guilds. The ‘“technitae” were the tragoedi and 
comoedi, the “synagonists” were the subordinate actors. 

πρωταγωνιστής, δευτεραγωνιστής, and τριταγωνιστής.- -ΠΠ6 his- 
tory of these terms has recently been discussed by Rees in his 
treatise The So-Called Rule of Three Actors in the Classical 
Greek Drama, and need only be summarized here. The tradi- 
tional view has been that throughout the whole classical period 
“the principal actor was called the protagonist; next in importance 
came the deuteragonist; the tritagonist played the inferior charac- 
ters” —to use the language of Haigh, Attic Theatre’, p. 230. But 
this classification is based, in the first place, upon a theory, itself 
due to a misconception, that in the classical period tragedies and 
comedies were acted by just three actors and no more, and, sec- 
ondly, upon the mistaken idea that the terms themselves, in their 
application to actors were in current use in classical times and 


1As is now proved conclusively by this use in the Delphic decrees BCH. XXX (1906), No. 
48 (ποτὶ τὸ κοινὸν τῶν περὶ τὸν Διόνυσον τεχνιτῶν) and No, 49 (ποτὶ τὰν σύνοδον τῶν τεχνιτῶν), 


2 ΟἹΟ. II 3068B (near Teos): ἔδοξεν τῷ κοινῷ τῶν συναγωνιστῶν, IG. XIV 2495: ψήφισμα 
τῆς ἱερᾶς θυμελικῆς ᾿Αδριανῆς συνόδου τῶν περὶ τὸν αὐτοκράτορα Καίσαρα Τραιανὸν ᾿Αδριανὸν Σεβαστὸν 
νέον Διόνυσον συναγωνιστῶν, IG, XLV 2496 (Nimes), of the reign of Nerva, is badly broken, 
but seems to speak of a synod of ἀγωνισταί. Lebas 1619 (Caria): decree of the synod τῶν ἀπὸ 
τῆς οἰκουμένης περὶ τὸν Διόνυσον καὶ αὐτοκράτορα Τραιανὸν, etc., τεχνιτῶν [. .. . καὶ σ]υναγωνιστῶν, 
BCH. VII, p. 17 (Ancyra): οἱ, ete., τεχνειταὶ. . . . καὶ οἱ τούτων συναγωνισταί, BCH. IX, Ρ.124, 
39 (Nysa) uses the same phrase. 


32 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


afterward. Both these misconceptions have been successfully dis- 
pelled, in the writer’s opinion, in the above-mentioned treatise. 
As regards the history of the terms, Rees shows that “ protago- 
nist” is not found in either literature or inscriptions as applied to 
an actor until the time of Plutarch; that “deuteragonist” occurs 
in only two passages, both late, where the reference is certainly to 
an actor; and finally that ‘‘tritagonist,” with but one exception, 
and that late, is always used with reference to Aeschines in pas- 
sages that are merely reminiscences of Demosthenes. 
‘“Deuteragonist’’ occurs only once in classical literature, as we 
have said, Dem. 19. 10, and here the meaning is “helper” in a 
political sense, although the person so referred to seems to be an 
actor as well as Aeschines to whom he sustained this relationship; 
see Appendix, No. 264. The two instances of its use of an actor 
are the scholium to Dem. De pace 6 (quoted above, p. 7) and 
Pollux. The scholium is also the one exception to the use of 
“tritagonist” not in reference to Aeschines. As we have already 
seen, the scholium wrongly attributes to ‘“‘the ancients” the use of 
deuteragonist and tritagonist for the second and third actor of a 
troupe. He was doubtless influenced to make this classification 
by the fact that Demosthenes, whom he was annotating, so often 
employed the term “tritagonist” of Aeschines. It is important 
to note that the scholiast distinctly says that in his own time the 
subordinate actors were called simply ὑποκριταί as distinguished 
from the tpay@ées, and that the very distinction which he draws 
between the usage of the ancients, and that of his own time implies 
that the terms deuteragonist and tritagonist were not then in com- 
mon use. In other words, to him as to Hesychius these words as 
used by Demosthenes were regarded as glosses. We next come 
to Pollux, who defines the use of the three doors of the scaena as 
follows: ἡ μέση μὲν βασίλειον ἢ σπήλαιον ἢ οἶκος ἔνδοκος ἢ πᾶν τοῦ 
πρωταγωνιστοῦ τοῦ δράματος, ἡ δὲ δεξιὰ τοῦ δευτεραγωνιστοῦντος 
καταγώγιον" ἡ δὲ ἀρισταρὰ τὸ εὐτελέστατον ἔχει πρόσωπον. There 
is no question that Pollux confuses the conventional significance 
of the three doors in the scaena of his own day with the character 
of the rdles assumed by the leading actor and his subordinates. 
For nothing could be more certain than that it was the practice of 


TERMINOLOGY 33 


the leading actors of the ancient theater, as it is of the modern, to 
select the rdles which they regarded as the most conspicuous or 
most important, or as best suited to their own capacities. Rees 
has conclusively demonstrated this fact, referring to the success of 
Nicostratus in messengers’ roles, of Satyrus in slaves’ réles in 
comedy, of Theodorus in female réles. Aeschines was assigned 
by the leaders of the troupes in which he played to the réles of 
kings and tyrants (see Appendix, No. 15). Plutarch Mor. 816 f 
and Vit. Lys. 446d makes it clear that the protagonist often played 
the part of servant or messenger to the king of a subordinate actor. 
The statement of Pollux therefore, as well as his use of the words 
protagonist and deuteragonist, is entirely erroneous and would 
lead, if strictly interpreted, to a wholly erroneous definition of 
these terms. It should be compared with the sane and lucid state- 
ment of Vitruvius v. 6. 3: uti mediae valvae ornatus habeant 
aulae regiae, dextra et sinistra hospitalia. 

Our conclusion from these facts is therefore as follows: The 
words protagonist, deuteragonist, and tritagonist were in existence 
from the fourth century onward in the general meanings “leader 
in a contest,’’ ‘‘helper in a contest,” and ‘‘third-rate contestant,” 
but, so far as our evidence permits us to judge, had not before 
the Christian era assumed the technical meanings ‘“‘first, second, 
and third actor” in a troupe. The single exception to this gen- 
eral statement is Demosthenes’ use of “tritagonist” as a term of 
reproach—a use that gave a special significance to this word in 
all after time. It inevitably called to mind the object of Demos- 
thenes’ ridicule. This conclusion is entirely consistent with the 
evidence which we have already adduced for the technical lan- 
guage which the guilds of Dionysiac artists applied to the two 
grades of the actors in their membership: τραγῳδοί and κωμῳδοι 
for the leading actors in a troupe, who were alone entitled to 
bring out old plays, and of συναγωνισταὶ τραγικοὶ and κωμικοί for 
the subordinate actors. At no period were these terms replaced, 
in the usage of the guilds, by protagonist, deuteragonist, and 
tritagonist. After the first century of the Empire, however, we 
find that this latter terminology has been adopted by the gram- 
marians and attributed by them to the classical period, evidently 


94 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


in their desire to make a harmonious scheme based upon (1) the 
recognized use of “protagonist” in reference to the leading per- 
son in dramatic and other contests, (2) the isolated instance of 
‘*‘deuteragonist”’ in Demosthenes, of a person who happened to be 
an actor, and (3) the well-known application of ‘‘tritagonist” to 
Aeschines. In this period protagonist sometimes assumes the 
technical meaning of “leading actor,” but the other two words 
never are so restricted, apart from the two exceptions which we 
have discussed, 

It may be a mere chance that we do not find these terms 
established in their technical meanings in the classical writers, 
for we must remember that a large portion of the prose literature 
of the fourth century and practically all that from the fourth to 
the first is lost to us. It is probable, however, that if the evi- 
dence were complete the conclusions which we have drawn would 
not be materially altered. The increasing specialization in the 
use of τραγῳδός and κωμῳδός from the fourth century onward, as 
the highest title that could be applied to a tragic or a comic 
actor, tended no doubt to prevent the establishment of ‘‘protago- 
nist’’ as a technical term by their side. 

In order to arrive at the fundamental meaning of these three 
terms in application to actors, it is important to consider at the 
same time the phrases τὰ πρῶτα, δεύτερα, τρίτα λέγειν. The comic 
poet Strattis early in the fourth century speaks of the actor He- 
gelochus as μισθωσάμενος τὰ πρῶτα τῶν ἐπῶν λέγειν, frag. 1 K. 
Cicero Div. ad Caec. 15 speaks οὗ actores primarum, secunda- 
rum, and tertiarum, in the same sentence designating the leading 
actor as princeps. Lucian Tyr. 22 has the tyrant-slayer say: 
Ta μὲν πρῶτα ἐγὼ ὑπεκρινάμην, Ta δεύτερα. δὲ ὁ παῖς, τὰ δὲ τρίτα ὁ 
τύραννος αὐτός, τὸ ξίφος δὲ πᾶσιν ὑπηρέτησεν. Menander frag. 
484 K., speaking, not of actors, but of husband and wife, says: 
τὰ δεύτερ᾽ ἀεὶ τὴν γυναῖκα δεῖ λέγειν, τὴν δ᾽ ἡγεμονίαν τῶν ὅλων τὸν 
ἄνδρ᾽ ἔχειν. οἶκος δ᾽ ἐν ᾧ τὰ πάντα πρωτεύει γυνή, etc. τὰ τρίτα 
λέγειν is found in Dem. 19, 246: οἷς οὗτος τὰ τρίτα λέγων διετέ. 
λεσεν, and in Men. frag. 224 K.: ὁ κακοήθης τρίτα λέγει (or τὰ τρίτ᾽ 
ἔχει). All these phrases, whether used literally or figuratively, 
convey a meaning which it is difficult to render into English 


TERMINOLOGY 5 Ὁ) 


except by the dramatic figure “play the leading (or second, or 
third) part,’ and yet this translation is misleading, for it lays 
emphasis upon the importance of the dramatic réle rather than 
upon the relative prominence of the person who is referred to. 
When Menander says that the wife should be subordinate to the 
husband he can use τὰ δεύτερα λέγειν, giving the ἡγεμονία to the 
husband. ᾿ ἡγεμονία is here the equivalent of τὰ πρῶτα λέγειν, just 
as Cicero makes the actor primarum the princeps gregis. The 
phrase τὰ τρίτα λέγειν, on the other hand, indicates the greatest 
possible inferiority of a person in relation to his associates. Com- 
pare the definition of the gloss “tritagonist” in Bekk. Anec., 
Ρ. 809: ὁ Αἰσχίνης ὡς ἀδοκιμώτατος τῶν ὑποκριτῶν, ἐν TH τρίτῃ 
τάξει καταριθμούμενος (also in Suidas, 8. v.), and the phrase evte- 
λέστατον πρόσωπον in Pollux, and μισθωτής in Plutarch. We are 
reminded of the epigram on Euthias (Appendix No. 164) in 
which he is described as δεύτερος ὧν τάξει but πρῶτος ἐν σοφίᾳ. 
As actor (or poet) he had not yet reached the rank to which his 
ability entitled him to aspire. That it was the person’s τάξις in 
relation to others which is primarily denoted both in these 
phrases and in the compounds “protagonist,” etc., is well illus- 
trated by Plotinus 111. 2, p. 484, Creuz. (A. Miller Biihnenalt., 
Ρ. 180, n. 4): οὐ yap αὐτὸς (i. e., the poet) πρωταγωνιστὴν οὐδὲ 
δεύτερον οὐδὲ τρίτον ποιεῖ, ἀλλὰ διδοὺς ἑκάστῳ τοῦς προσήκοντας 
λόγους. 

In view of these facts we are justified in setting up the equa- 
tions: ὁ πρωταγωνιστής -- ὁ τὰ πρῶτα λέγων -- ὁ πρῶτος ὧν τάξει. 
The definitions given by Hesychius for deuteragonist and tritago- 
nist, ὁ δεύτερος ἀγωνιζόμενος and ὁ τρίτος ἀγωνιζόμενος, probably 
are not intended to imply anything but rank (τάξις) as ἀγωνισταί. 
It is from this general conception of the meaning of these com- 
pounds that we must interpret the words of Suidas, who says of 
Chionides, who has recently come to be recognized as the earliest 
in time of the victorious comic poets of Athens, that he was the 
πρωταγωνιστὴς τῆς ἀρχαίας κωμῳδίας. The person to whom this 
phrase is due was probably not clearly aware that Chionides was 
eminent as the first in a great chronological series. Of his prom- 
inent position in the history of “ancient comedy,” however (note 


90 HISTORY OF AOTORS AND ACTING IN ANCIENT GREECE 


that he does not say παλαιᾶς but ἀρχαίας), he was informed 
through Aristotle. It must be admitted that the word is used in 
a strained and unusual meaning, which is good évidence that the 
expression is late; it is enough to recognize this fact and account 
for it.' 

4. émdeixvvcGa.—This word need not detain us long, for it 
never came to designate in a technical sense the work of the actor 
as such. But it comes into the sphere of ἀγωνίζεσθαι and is 
equivalent to it in the choregic inscriptions of Delos, BCH. VII 
(1883), pp. 103 ff. In eight of these inscriptions the heading 
over the lists of performers is οἵδε ἐπεδείξαντο τῷ θεῷ, but in one 
we find ἠγωνίσαντο. Hence A. Korte N. Jahrb. d. f. klass. Ald. 
V (1900), p. 83, properly concludes that the “exhibitions” at 
Delos were contests, including the performance of the tragoedi 
and comoedi, thus refuting the contention of Bethe Gott. Gel. 
Anz. (1897), p. 727, who urged that ἐπιδειξα μένοις in the phrase 
τοῖς Kwumdois—rois ἐπιδειξαμένοις τῷ θεῷ in the accounts of the 
hieropoioi had reference simply to the procession and not to the 
production of a play. 

5. texvitns.— Regarding this word no better statement can be 
framed today than that of Aristotle Rhet. 1405 a 23: καὶ ὁ μὲν 
“Διονυσοκόλακες, αὐτοὶ δ᾽ αὐτοὺς ‘teyvitas’ καλοῦσιν: ταῦτα δ᾽ 
ἄμφω (i. e., this and another illustration) μεταφορά. It is a term 
which actors, as well as others of the tribe of ‘‘artists,” were 
fond of applying to themselves, and that, too, more or less indis- 
criminatingly. The guilds of thymelic and scenic performers 
called themselves by the name οἱ περὶ τὸν Διόνυσον τεχνῖται, and 
it was possibly to the word as thus employed that Aristotle makes 
reference. We cannot be sure of an earlier occurrence of the 
word as applied to actors, though actors were among the artists 
whom Philip gathered together, Dem. 19. 192: εἰς τὴν πανήγυριν 
πάντας τοὺς τεχνίτας συνήγαγεν (i. e., Philip), for Satyrus, the 

Of, Wilamowits Gott. Gel, Anz. (1906), p. 620, n., who rightly insists that πρωταγωνιστής 
=Ta πρῶτα ἀγωνιζόμενος, proposed to change to πρῶτος ἀγωνιστής, and Schonkl Hermes XLIT 
(1907), p. SH, suggests προαγωνιστής if the source is early, but is inclined to the view that the 
word is late and should not be altered. Wo may add that Schenk! plausibly suggests that 
πρωτολόγος (πρωτολογία, otc., firat found in Teles apud Stob. 3. 4 Hense as equivalent to ὁ ra 


πρῶτα λέγων) Was taken into judicial language from the sphere of the drama and later took 
on a purely tomporal meaning as “ the first speaker" before the court. 


TERMINOLOGY oa 


great comic actor, is mentioned as one of the victors. One of 
the Aristotelian Problems (956 ὃ 11) is “‘Why are οἱ Διονυσιακοὶ 
τεχνῖται generally bad?” Actors, rather than the whole company 
of thymelic performers, are designated by the phrase οἱ περὶ τὴν 
σκηνήν, as, for example, in Dio Cassius lx. 23, for the tragic and 
comic actors were the most important of the scaenici. The 
height of Nero’s ambition was to excel as a τραγῳδός ; therefore, 
although he posed as an “artist” in several capacities, we should 
interpret his dying words, ὦ Zed, οἷος τεχνίτης παραπόλλυμαι 
(Dio Cassius lxiii. 29, p. 1048 Sturz.) as a reference to his 
fancied eminence as a tragedian. As we have said before, how- 
ever (p. 27, above), it is only when actors are spoken of or 


> as when, for 


implied in the context that τεχνίτης means “actor;’ 
example, Diodorus xvi. 92 styles Neoptolemus ὁ τεχνίτης after he 
has already called him ὁ τραγῳδός. We must therefore qualify 
as entirely too sweeping the statement of Haigh Att. Theat.’, 
p. 227: ‘‘In the course of the fourth century the old Attic word 
for actor (he means ὑποκριτής) went out of use, and a new one 
was substituted. Henceforward actors were generally called 
‘artists,’ or ‘artists of Dionysus.’ ὑποκριτής never went out of 
use and τεχνίτης was never used alone as a specific term for the 
dramatic actor without some suggestion from the context. 


7. 
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iat -" 


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ib re = i 





CHAPTER II 


TO WHAT EXTENT ACTORS KEPT TO THEIR PARTICULAR 
SPECIALTIES 


The tendency seems to have grown in recent years, among 
those who are engaged in the study of the documents which bear 
upon the history of dramatic performances in Greece, to identify 
persons who bear the same name even if they appear in different 
documents in different capacities, and especially actors with poets. 
Thus, for example, in Wilhelm’s Urkunden a large number of 
tragic and comic actors are assumed to be the same persons as 
tragic and comic poets simply because the names are the same 
and because they belong to the same general period.’ And only 
seldom is the personal name recorded in its three elements: name, 
father’s name, and ethnicon or demoticon, though it is only by 
the coincidence of all three, together with date and function (in a 
general sense) that really complete identification is to be reached. 
It has therefore seemed appropriate, in view of the material col- 
lected in the Appendix and the judgments sometimes passed there 
regarding such proposed identifications, to set forth briefly the 
basis of facts which we possess to justify the general assumption 
on which these identifications, or the rejection of them, rest. ᾿ 

We may briefly dismiss from consideration the case of poets! 
who acted in their own plays. We are told that this was the 
common practice in the early history of the drama, but afterthe 
rise of the profession of acting we hear no more of it. It used to 


1 Not to mention a large number of possible family relationships near and remote, Wil- 
helm considers that the following actors are identical with poets. (The page refers to 
Wilhelm, the number to the Appendix): Tragic actors with tragic poets: Heracleides, No. 
214, p.62; Menecrates, No. 329, p. 21; Sositheus, No. 451, pp. 142, 223. Comic actors with 
comic poets: Antiphanes, No. 35 (with an hypothetical poet of the New Comedy), p. 55; 
Asclepiodorus, No. 94, p. 128 (in this case the poet was victorious ca. 340, the actor began 
his career ca. 315); Demetrius, No. 126, p. 154; Diodorus, No. 141, p. 59; Hipparchus, No. 
256, p. 251; Nausicrates, No. 355, p. 151; Nicolaus, No. 365, p. 79; Philostephanus, No. 287, 
p. 154; Theophilus, No. 236, p. 29; Timoxenus, No. 464 a, p. 156. Of these identifications only 
those of Diodorus and Diomedes are based on any really substantial evidence; the rest 
were suggested by simply the coincidence of name and period and some sort of connection 
with the dramatic profession. And the names themselves are generally not uncommon. 


39 


40 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


be thought that the comic poet Antiphanes brought out his own 
Anasozomenos at Athens, but the correct dating of JG. 11 972 
places the actor Antiphanes (No. 35) long after the death of the 
poet. We should have an instance from the latter part of the 
fourth century B.C. if Wilhelm’s restoration of an Athenian decree 
in honor of an actor, which he publishes on p. 221, were at all 
certain: [διδάσκων τε καὶ irroxpivd| μενος Ta αὑτοῦ Spduat ja. But 
as it is, we are not justified in citing this document as evidence 
on the point in question; the restoration is here wholly subjec- 
tive in character. The actor Antiphon (No. 37), of the latter 
part of the second century A. D., appears on one occasion as both 
poet and actor of new comedy, as well as poet of the prosodion; 
_he may have performed in his own play on this occasion. Apart 
ieee this one possible instance we know of no poet after Sopho- 
cles who acted in his own plays. 

The comic poet Diodorus of Sinope, who brought out plays at 
Athens in the year 288, seems to have had some experience as an 
actor, for as κωμῳδός he brought out an old play at Delos in the 
years 284 and 280. His name does not, however, appear among 
the victorious protagonists at Athens, and it is probable that, hav- 
ing had an early training in acting before he became a poet, he 
now and then, in festivals outside of Athens, took charge of the 
production of an old play. The case of Diomedes son of Atheno- 
dorus of Pergamon and Athens, the comic poet concerning whom 
we have three documents of the latter part of the second century 
8.0. or beginning of the first, is not quite so clear. In a Delphic 
decree recently published, of the year 106 B.o., a Diomedes son 
of Athenodorus, Athenian, appears among the comic synagonists 
who assisted the κωμῳδοί in the production of old plays; see 
No. 145. The identification, proposed by Wilhelm, p. 256, is 
plausible, but we do not know whether his career as a poet was, 
as we should expect, subsequent to his appearance at Delphi as a 
minor person in a comic troupe, or whether he had already made 
his début as a poet. Alexandrus (No. 23), an actor of the time of 
Caracalla, was a (tragic) poet as well as a τραγῳδός, 

In the early days of comedy we know of two persons who 
began their careers as actors and later turned their attention to 


AOTORS AND THEIR SPECIALTIES 41 


poetical composition, viz., Crates and Pherecrates. We happen 
to know of no other instances, though there is no reason to sup- 
pose that this was an unusual occurrence. However, unless strong 
external reasons exist for the identification of two persons of the 
same name, one an actor and the other a poet in the same branch, 
it is unwise to assume their identity. The overwhelming majority 
of the actors known to us by name are men who won some emi- 
nence in this profession, while it is unlikely that men who became 
prominent as poets ever attained distinction as actors. Accord 
ingly the fact that, among the thirty-four names of comic actor} 
who won victories at the Athenian Lenaea in the first ae 
third century, two names are found which are also’ borne by poets 
of the New Comedy, furnishes no warrant whatever for the iden- 
tification of these two as an assured certainty.’ 

The inscriptions give us information of about one person who 
was at the same time a tragic poet and actor of old comedies. In 
a decree of the Delphic Amphictyony of 138 B.c. one of the 
ambassadors of the Athenian technitae mentioned is Thymoteles 
s. Philocles, tragic poet (No. 245). He is twice so designated in 
the same decree, of which we have two copies. The same person 
is mentioned in a Delphic decree of the same period among the 
κωμῳδοί, representatives of the Athenian technitae, who partici- 
pated in the scenic exhibition. The inscription is fragmentary at 
this point, but there can be little doubt that the fragments are 
rightly joined by the editor, M. Colin, and that Thymoteles was 
entered under this heading. It is altogether probable that before 
becoming an actor of old plays he had acted in new plays, and if 
his name was erroneously included under the category of κωμῳδοί 
by the graver instead of under the τραγῳδοί he may have acted in 
his own tragedies. But as the facts stand the combination of 
tragic poet and comic actor is altogether unexampled. 

We know of several persons who were employed in different 

1 Frag. yza’, in which Wilhelm identifies Demetrius and Philostephanus. The victory 
of Demetrius, the actor, must be dated ca. 258 B. c., while the only datable play of the poet 
Demetrius was written soon after 295; see Wilhelm, p. 154, and Kaibel, 183, with Wilhelm’s 
note. Their identity is intrinsically improbable. We have no clue at all to the period of 
the comic poet Philostephanus; only his name, which is sufficiently uncommon, suggests 


the identity, which should be regarded as simply a possibility, not as a certainty, as it is by 
Wilhelm, p. 154. 


42 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


capacities in the same branch of the drama. For example, Mos- 
chion (No. 349), the comic actor of ca. 300 B.c. in the Victors’- 
list, is probably the same person who appears in 270 as comic 
didascalus at the Soteria at Delphi, and Menecrates (No. 330), 
the comic didascalus at the Soteria in 272, may be the κωμῳδός 
who appeared at Delos thirteen years later. But neither of these 
identifications can be counted as quite certain, in spite of the 
close connection in function, in the lack of the father’s name and 
ethnicon. The case is clear, however, of Thyrsus (No. 246), who 
was comic choreute at Delphi in 271 and comic didascalus ibid. 
two years later, and of Cephisodorus (No. 288), who was comic 
didascalus at Delphi in 272 and 271 and the comic choreute in 
267. Diogeiton’s case (No. 136) is uncertain, since the father’s 
name is missing in one instance and the name is a very common one. 

A good many instances will be found in the Appendix of the 
employment of actors in capacities for which their histrionic train- 
ing or their qualities of voice fitted them. We mention only a 
few here for the sake of illustration. Hermophantus (No. 181) 
and Hegesias (No. 209), comic actors, were engaged to recite 
Hesiod and Homer at a great celebration at Alexandria. In the 
great choruses which sang the paean to Apollo which the Athen- 
ian technitae sent to Delphi toward the end of the second century, 
a considerable number of tragic and comic actors, who took part 
in the scenic exhibitions on the same occasions, participated. A 
number of times in the same period we find actors taking the part 
of heralds in the exhibitions; and Alexandrus (No. 21), Euar- 
chus (No, 186), comic actors, and Epinicus (No. 173), τραγῳδός, 
appear as authors of the epinicia. 

The data gathered in our Appendix do not bear upon the 
question whether tragic poets were ever comic poets also; but 
now that we know for a certainty’ that Timocles, the tragic poet 
of the latter part of the third century, is not the same person as 
the comic poet of the same period, we may reasonably doubt 
whether these two activities were ever united in the same person, 
at least before the Roman Empire. 


1 The fragment of the [karioi Satyroi preserved in the new Didymus commentary shows 
that the play was a comedy, not, as had been surmised, a satyr-drama. See Wagner Sym- 
bolae ad comicorum Graecorum historiam criticam, chap. iv. 


ACTORS AND THEIR SPECIALTIES 43 


For us the most important question in this connection is 
whether the functions of tragic actor and comic actor were ever 
united before the Roman period. As for the literary evidence, 
we have at one end the explicit statement of Plato Rep. 395a: 
οὐδὲ μὴν ῥαψῳδοί ye Kui ὑποκριταὶ dua: οὐδέ τοι ὑποκριταὶ κωμῳ- 
dois τε καὶ τρωγῳδοῖς οἱ αὐτοί, and at the other Cicero’s remark, 
Orat. 31. 109: histriones eos vidimus quibus nihil posset in suo 
genere esse praestantius, qui non solum in dissimillimis personis 
satisfaciebant, cum tamen in suis versarentur, sed et comoedum 
in tragoediis et tragoedum in comoediis admodum placere vidi- 
mus. The phrase “cum tamen in suis versarentur’’ shows that, 
though certain great actors may have acted acceptably in both 
tragedy and comedy, yet the old distinction between the tragic 
and the comic actor was still felt and observed. To the unlearned 
scholiast to Luc. Jup. trag. 3 it seemed quite natural to assume 
that Polus and Aristodemus in the classical period played the 
role of gods in tragedies and in comedies; see under No. 62 sub 
fin. Turning to the prosopographical evidence, we find no in- 
stance of a tragic actor who can with any reasonable degree of 
probability be identified with a comic actor before the first part 
of the first century B.c.: Iranus (No. 261) is found twice as 
κωμῳδός and once as Tpayedds. To the same period belongs 
Praxiteles (No. 415), who performed at Delphi in 136 B.c. as 
comic synagonist and nine years later as τραγῳδός, Finally, an 
unknown person (No. 562) of the Imperial period won victories 
both as κωμῳδός and as τραγῳδός, and also as κιθαρῳδός." 

In view of the fact, then, that among the five hundred odd 
actors of whom we have knowledge only three are known who 
engaged in both tragedy and comedy, and that two of these three 
belonged to the period ca. 100—75 B. c. while the third is of the 
late Empire, it will be acknowledged that we should exercise 


1TIn a metrical inscription from Hermione, Kaib. Ep. Gr. 926, a dedication of a Pantocles 
to his brother Pythocles, a great prize-winner, the restoration of Boéckh would make 
Pythocles both an αὐλωδός and a κωμῳδός, We know both Pantocles and Pythocles as mem- 
bers of the men’s chorus at Delphi in the year 271 B.c., SGDI. 2564, ll. 29f. The specialty of 
Pythocles was in the thymelic events, as dancer in the choruses, as aulode, and very likely 
also as rhapsode or lyrode. It is extremely unlikely that he was also a comode. We 
accordingly have not included him in the Appendix. The text should read: [ἀλλ᾽ ὅποσ 
αὐλῳ]δός τενκαὶ ἐγκυκλίοισι χοροῖσιν, [ὅσσα Te paw δός (Or Avpw ]δός), κτὲ, 


44 HISTORY OF ACTORS AND AOTING IN ANCIENT GREECE 


great caution in assuming the identity of a tragic actor with a 
comic actor. The sharp distinction which was laid down by 
Plato without qualification held good, we may believe, without 
qualification for two centuries after his day, and the rule even 
thereafter was rarely departed from. 


~~ 


CHAPTER III 
THE ACTORS’ CONTESTS AT ATHENS 


The organization of the scenic contests at Athens were more ~ 
complete and more complex than anywhere else in the Greek 
world, and higher honors were held out in these contests than ἴῃ 
similar contests at other festivals. But the right of the best actor 
to the special distinction of a prize was only recognized gradually, 
and contests for actors were organized at different times at the two 
Athenian festivals and at different times for the tragic and the 
comic actors. It is of some importance for the history of acting 
in Greece, therefore, to attempt to trace in some detail the recog- 
nition at Athens of the importance of the actors’ contribution to 
the dramatic exhibitions, by showing as nearly as possible at what 
date each class of actors was granted the right to compete for a 
prize at each festival. 

Until about a quarter-century ago scholars were content to know, 
through a few scattered allusions in Greek writers, mostly late,’ 
that at some time and on some occasions actors competed for a 
prize; but E. Rohde was the first to treat the subject at all ex- 
haustively, so far as the evidence then available permitted (Rhein. 
Mus. XXXVIII [1888], pp. 269 ff.). Since then, however, there 
have been important additions to our material in the inscriptions 
which Wilhelm has last edited, with his new finds, and with these 
additions has come a fuller knowledge of the several problems 
involved. We now know with essential accuracy the outlines of 
each of the actors’ contests. The evidence furnished by these 
documents, however, has not been exhausted, and in this chapter, 
in addition to reviewing briefly the facts which are already estab- 
lished, we hope to come nearer a solution of some of the problems 
still outstanding. 

As regards the reproduction of old plays we learn from two 


1From the fourth century only Arist. Eth. Nic. 3.1111 b 24; cf. Rhet. 3. 1403632, But later 
writers tell of victories by Aristodemus, Theodorus, and Andronicus, and frequently refer 
to the rewards of actors; see Schneider Att. Theaterwesen, τι. 165. 


45 


40 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


fragments of 7G. II 971 (above, p. 5) that after 386 and 339 
respectively old tragedies and old comedies were removed from 
competition with new plays and were brought out as “extras’’ by the 

“ τραγῳδοί and κωμῳδοί; in each year only one old play of each class 
was performed after these dates. We can only infer that before 
these dates old plays might be entered in competition with new 
plays, as Capps has recently pointed out, but as Rohde saw must 
be the case long before these new documents had come to light.' 
But the old plays were brought out then, not by actor-didascali, 
but by poets who took the places of the original authors as didas- 
cali, if not by the authors themselves. The actors who were pro- 
tagonists in the old plays had therefore no different relation to 
the production than the protagonists in the new plays; they were 
competitors for the prize in all contests in which a prize was 
awarded to the best protagonist. For our present purpose, accord- 
ingly, it will suffice to determine the time of the introduction of 
the actors’ contests in the two festivals. 


THE CONTESTS OF TRAGIC ACTORS 


It is now established with practically mathematical certainty 

WN the contest of tragic actors at the City Dionysia was intro- 
duced in the year 450-49." We do not know how long this con- 

test was maintained; the latest names that can be assigned with 
certainty to the catalogue of tragic actors at the Dionysia belong 


to ca. 280 B. 0. (below, p. 61). But there is no reason to suppose 
that it was given up as long as the City Dionysia itself persisted. 

The contest of tragic actors at the Lenaea was established soon 
after. A comparison of the beginnings of the two catalogues of 
victors (below, pp. 61, 62) shows that the first Lenaean victor, 
Chaerestratus, was sixth in order in the City list—indicating an 
interval of from 10 to 20 years. The sixth Lenaean victor, Cal- 
lipides,’ was victor in 418 B. o., 1G. Il. 972, col. ii; this would 
indicate a date for the introduction of the contest about midway 


| Rhein, Mus., loc, cit., pp. 287 .; Capps AJP. XXVIII (1907), p. 86. 


2Above, p. 27. Reisch Z6G. 1907, p. 244, n., points out that there is a possible error of one 
yoar in the calculation, since an extra line may have been used to record the innovation in 
some yoar-list of 7G. ΠῚ 971 before 446 — the first date at which we find the actor recorded in 
the extant fragments. But this possibility is too slight to be regarded. 


1 Whose name is rightly restored by Reisch, loc. cit., p. 308, ἡ. 1, 


THE ACTORS’ CONTESTS AT ATHENS 47 


between 449 and 418, say 433. The same result has been reached 
by Capps AJA. IV (1900), p. 86, and lately by Reisch Z6G. 
1907, pp. 308 f., by an estimate of the number of years lost 
from the Lenaean tragic Didascaliae 7G. II. 972 before the first 
item preserved, of the year 419. Capps makes the epoch date 
“between 430 and 440,” Reisch between 425 and 432, with a strong 
preference for the latter. It is clear that the actors’ contest at the 
Lenaea dates from the establishment of the tragic contest at this 
festival. The catalogue of victors (below, p. 63) shows that the 
contest was continued down to the latter part of the third century 2—~ 
B. C., perhaps later.’ 


THE CONTESTS OF COMIC ACTORS 


The question of the comic actors’ contests at the Lenaea and at 
the City Dionysia is involved in difficulties that up to the present 
time have not been satisfactorily solved. The data which we pos- 
sess that bear upon the question are as follows: 

1. The Fasti of the City Dionysia /G@. IT. 971 regularly record 
as the last item in each year-list the victorious tragic actor in every 
fragment that is extant after the year 449 down to the last, which 
belongs to the year 329. Although the heading of the Fasti, 
which doubtless clearly defined the scope of the document, is lost, 
it is now generally agreed that it contained the words οἵδε νενική- 
kaow. We must therefore assume that the document recorded all 
the victors for each year in all the contests that were organized 
under the City Dionysia. To accept any other hypothesis is to 
impugn the complete documentary character of this most important 
official record or copy of the official record. The absence of all 
mention of a victorious comic actor must therefore be regarded as 
conclusive evidence that down to at least 329 no contest of comic το 
actors had been organized at the City Dionysia. To refute this 
conclusion only positive evidence of as high an order as this negative 
evidence would be required.” 


1 We must dissent from the opinion of Reisch, loc. cit., pp. 401, 309, that this was ‘‘long 
after the poets’ contest had been discontinued.’’ He attributes the victories in the cata- 
logue to the reproduction of old plays. For this hypothesis there is no evidence whatever ; 
Reisch permits himself to be guided too far by his theory of the structure of the building 
in which these documents were inscribed; see below, p. 56. 


2 We now understand the character of the Fasti much better than Rohde did, who (loc. 
cit., p. 285), observing that the hypothesis to Arist. Paa records the victorious comic actor, 


48 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


2. The hypothesis to Aristophanes’ Pax, which was brought 
out at the City Dionysia in 421, names the protagonist of the 
play, Apollodorus, and, according to Rose’s plausible emendation 
of the text, records the victory in the contest of the actor Her- 
mon: ὑπεκρίνατο ᾿Απολλόδωρος, ἐνίκα “Ἕρμων ὁ ὑποκριτής (ἡνίκα 
ἑρμῆν λοιοκρότης, MSS). The notice as it stands seems to run 
directly counter to the evidence of the Fasti, as Rohde, Wilhelm, 
and others have thought; but A. Korte Rhein. Mus. LIT (1897), 
p. 172, has advanced an explanation which in itself is entirely 
possible, and, in view of the unimpeachable nature of the Fasti, 
is the only possible one, viz., that while indeed the notice about 
Apollodorus and Hermon is derived from a good didascalic source, 
yet it has to do with “the other Peace” of which the third 
hypothesis, quoting the authority of Crates, informs us, and not 
with the play we now possess; or, if ἑτέρα Εἰρήνη was the same 
play reproduced, our notice refers to the occasion of its reproduc- 
tion. And it must have been brought out at the Lenaea. The 
author of the hypothesis simply got hold of the wrong didascalic 
notice, misled by the identical title and author. 

3. That there was a contest established for comic actors at one 
of the festivals as early as ca. 375 Β. Ο. is shown by the existence 
of fragments of the Victors’-lists containing the names of well- 
known comic actors contemporary with Demosthenes and Aeschi- 
nes, viz. fragg. i’ and αἱ (below, p. 04). Parmenon is mentioned 
by Aeschines in 345 ( Tim. 157) and by Aristotle (Probl. 948 a 3), 
Nausicrates by Aeschines in the same speech, while Phormion 
and Lycon were associated with Alexander the Great. There is 
no possible doubt, therefore, about the identification of frag. 2x, 
which is due to Kohler. Satyrus and Philemon of frag. 7’ belong 
to the same period and are equally well known. Further, frag. τ΄ 
comes from the top of the architrave and these three names were 
the first of a column, which was preceded by at least one column, 
as Wilhelm (p. 253) shows. This carries us back to the begin- 


and that the year-list of 422 does not, was inclined to doubt whether the Fasti gave a com- 
plete record. Wilhelm also, Urk., pp. 149 £., sees in the hypothesis a direct contradiction of 
the Fasti, though (p. 254) he recognizes in Korte’s explanation a possible solution. Kaibel 
in Wilhelm's Urk., pp. 187, ἢ. 2, and 192, accepts absolutely the evidence of the Fasti, as also 
Capps AJA. LV (1900), p. M4, and A. Korte Rhein, Mus, LI (1897), p. 172. 


THE AOTORS’ CONTESTS AT ATHENS 49 


ning of the fourth century. Kaibel ( Urk., p. 193) unhesitatingly 
assigns these fragments to the Lenaean list on account of the 
evidence of the Fasti against the existence of the comic actors’ 
contest at the other festival, and in this Reisch follows him. 
This is undoubtedly the correct view. 

4, The section yza of the same Victors’-list begins at the top 
of a column with names of actors known to have been active 
toward the end of the fourth century. The second, Callippus, 
shown by Wilhelm to have been the younger of the name, was 
victor in 812, and his successor, Asclepiodorus, in the year follow- 
ing, according to Wilhelm’s restoration of the new didascalic 
inscription, p. 45. The festival at which these victories were won 
we may leave undetermined for the present. At least one column 
preceded these names, i.e., at least 17 names before Callippus. 
If the first victory of the first of these 17 names must be dated as 
early as 329 B.c., then yza’ must be Lenaean. Now if we assign 
the usual average of about two victories to each actor, the begin- 
ning of the preceding column would go back into the forties. 
The year 329 can be reached ‘only by assuming: (1) that the 
victory of Callippus won in 312 was at the same festival to which 
yza relates, (2) that it was his first victory, (3) that each of 
his 17 predecessors won only one victory each. Only by such a 
series of hypotheses can yza’ be assigned to the Dionysia, and the 
third supposition is so highly improbable as entirely to exclude 
the possibility of such assignment, in the writer’s opinion. If, on 
the other hand, yzu’ refers to the Lenaea, as Capps maintained 
some years ago (AJA. IV, p. 85), we may place the beginning of 
Callippus’ career a little before 312, may give to his predecessors 
in the preceding column the period ca. 315 to ca. 345, to frag- 
ments i and ἃ; the period ca. 345 to ca. 375, and so on to the 
beginning of the list of victors, which would thus be brought 
back to the date of the introduction of the comic contest into the 
Lenaea, which has been fixed at ca. 442.’ 

5. Fragments δ᾽ ο΄ of the Victors’-lists contain names which 

1 Kaibel Urk., p. 169, and more precisely Capps 4JP. XXVIII (1907), pp. 186 ff. Kaibel, 
p. 193, assigns 7’ « and yzqa’ to different lists, on the basis of a faulty calculation. Wilhelm, 


p. 150, leaves the matter undecided. For the view of Reisch, who also assigns ὁ) x and yza’ to 
different lists, see below. 


50 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


are found also in yza@ and therefore are Dionysian. The first 
name preserved, Aristomachus, is ninth in yza, i.e., δ΄ ε΄ begins 
at a point 15-25 years later than yza’, or between 300 and 290. 
b’c’ contains ten names; seven, or six and the heading, are lost. 
The whole is written in the first hand, whereas Philonides, the 
sixteenth name in yza’ (in δ΄ ε΄ the sixth), is there written in the 
second hand, or after 278 (see below, p. 65). The chances 
are, therefore, that the lost six or seven names were near the top, 
rather than at the bottom, of the column containing bc’. This 
being the case, the beginning of the column would fall ea. 300. 
If the heading stood at the top of this column, the comic actors’ 
contest at the Dionysia was introduced ca. 300; but it will be 
seen below that the Didascaliae of 312, which records the victori- 
ous actors, is Dionysian. I have therefore assumed (p. 66, 
below) that one column preceded δ΄ c’. The date of the introduc- 
tion of the comic actors’ contest into the City Dionysia would 
therefore be in the twenties, somewhere between 328 and 320, 
nearer the former than the latter. 

6. The new fragment of the Didascaliae discovered and pub- 
lished by Wilhelm, p. 45, under the designation JG. II 974e 
records the victorious actors for 312 and 311, viz. Callippus, Jr. 
and Asclepiodorus. Since the comic actors’ contest certainly 
existed at this time at the Lenaea, and, as we have just seen, may 
have already been established at the Dionysia, the assignment of 
this document must depend upon other considerations. Wilhelm, 
p. 55, is undoubtedly right in considering that if 972 is Lenaean 
9146 must be Dionysian. In the one no old play is recorded, in 
the other it is. And that from 339 on an old play was regularly 
brought out at the Dionysia by the κωμῳδοί, while the practice at 
the Lenaea is unknown, is sufficient justification for the assign- 
ment, provisionally at least, of 974ce and 975 to the City Dionysia 
and 972 to the Lenaea. There is another difference in the con- 
stitution of these Didascaliae that is due to the appearance of the 
κωμῳδός and the title of the old play in the first line of each year: 
the competing poets are introduced by the heading ποη(ταί). 
This heading naturally drops out in 972, where the record begins 
directly with the competing poets. We may therefore accept 


THE ACTORS’ CONTESTS AT ATHENS 51 


974¢ as Dionysian, and may consider the fact of the establishment 
of the comic actors’ contest at this festival somewhere in the twen- 
ties as assumed. ᾿ 

7. IG. II 1289, of the year 306 B.c., mentions the victorious 
comic actor Callippus. This document has been recognized as 
Lenaean by Capps and later by Wilhelm. 

8. The Lenaean comic Didascaliae JG. II 972, of the years 290 
and 289, mention the victorious comic actors. 

9. In the Dionysian comic Didascaliae JG. II 975, extending 
from the end of the third to the middle of the second century, the 
victorious actor is regularly mentioned except in the earliest frag- 
ment f. For this reason Capps was disposed to date this fragment 
in the latter part of the fourth century, before the death of Me- 
nander and before the introduction of this contest into the City 
Dionysia. But not only is the lettering that of the latter part 
of the third century, as Wilhelm (p. 68) shows, but the facts 
above adduced exclude the possibility of a period during Menan- 
der’s activity in which a prize was not offered to the victorious 
comic actor. How then are we to explain the fact that once’ in 
the record, after 1. 2 of 975 f, the line is missing in which the 
victorious actors should have been mentioned? To assume with 
Wilhelm and Reisch that in this year there was no actors’ contest 
seems inadmissible, for after the actors’ contest had once been 
established it is hardly possible that, at a performance of comedies, 
the judges should have failed to select the best of the competing 
actors and award him the prize. And in this year the record 
names the protagonists of each play in the usual fashion. This 
in itself is an indication that there was an actors’ contest, for 
otherwise there was no object in mentioning the actors at all. 
This being so, it is best to assume an error of omission on the 
part of the stone-cutter. And such an error would have been 
particularly easy to commit if, as I assume, the victor for the year 
was the actor named in connection with the last play, i. e., Nico- 


1 According to Kéhler’s restoration the victorious actor was not given the year following, 
after 1. 15, but Wilhelm plausibly suggests that oov in 1.16 may be a part of the title of a play, 
e. g., ᾿Αγν]οοῦ[ ντι, and that in this year as a few other times six comedies were presented. 
The restoration of frag. ais too uncertain to warrant Reisch’s assertion (Z6G. 1907, p. 309) 
that the victorious actor is here also omitted. 


52 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


demus (accepting Wilhelm’s restoration). The original copy of 
the record which the scribe had before him was therefore pre- 
sumably as follows: 
Ἔρχιεῦσιν 
ὑπε Νικόδημος 
ὑπο Νικόδημος ἐνίκα 
The cutter omitted the last line in inscribing it on the stone. 

If the above statement of the facts regarding the actors’ contest 
in the two festivals is correct, this contest was introduced into the 
Lenaea at the time the comic contest itself was admitted to this 
festival, ca. 442 B. c., and was maintained, as the Victors’-list yza’ 
shows, down to near the end of the third century. For some 
reason which we can hardly hope to discover the contest was not 
admitted to the City Dionysia until ca. 325 B. c., and was con- 
tinued until the middle of the second century or later, on the 
evidence of the Didascaliae 975; there are no recognizable remains 
of the Victors’-list for this festival after δ΄ ἐς. 

This statement of the case seems to harmonize perfectly the 
evidence of various kinds which we have passed in review. But 
Reisch has recently (Z6G. 1907, pp. 299 ff.) announced a theory 
regarding the construction of the building in which the Didascaliae 
and the Victors’-lists were inscribed and of the arrangement of 
these documents within the building that runs counter to these 
conclusions at some essential points. As the result of his theory 
he introduces as a criterion for the classification of the fragments 
of the Victors’-lists the condition of the under-surface of the pieces 
that are extant from the bottom of the columns, and for this reason 
is obliged to assign yza’ to a different list from a; but since, as 
he clearly sees, yza’ cannot be Dionysian because its beginning 
would go back beyond 329, he proposes an ingenious theory to 
explain it as neither Lenaean nor Dionysian. Reisch’s reconstruc- 
tion of the building and his theory concerning the arrangement 
of the documents in it are so attractive and in many respects so 
plausible that we must pay more than passing attention to his 
views. 

The building which housed these documents. was a hexagonal 


Le J 


structure, erected in 278 as the dedication of an agonothete, of 


THE ACTORS’ CONTESTS AT ATHENS 53 


which three sides were open and three sides closed. On the 
three walls of the closed sides were inscribed the Didascaliae, 
and in this order: on the first wall the tragic Didascaliae of the 
City Dionysia, of which 973 remains, on the second wall the comic 
Didascaliae, Dionysia, of which 974 c, 975 and some smaller frag- 
ments are preserved, and on the third wall the comic and then the 
tragic Didascaliae of the Lenaea, represented by 972, which con- 
tains a portion of the last column of the comic and the first of the 
tragic. On the architrave over these walls and over the open sides 
were inscribed the Victors’-lists, and in the same order, except 
that here two sections, poets and actors, corresponded to each set 
of Didascaliae; the lists of poets in general stood over the walls, 
the actors over the doors, except in the case of the Lenaea, where 
both the comic poets and the comic actors stood over the third 
wall, the tragic poets and tragic actors over the third door. A 
fragment of this architrave that happens to be smooth on the under- 
side must therefore have stood over the doors, and must be either 
tragic or comic actors, Dionysia, or tragic actors or tragic poets, 
Lenaea; while fragments with unsmoothed under-surface stood over 
the walls and must contain either tragic poets or comic poets, 
Dionysia, or tragic actors or comic actors, Lenaea. 

Now the vast majority of the fragments from this architrave 
are broken away on all sides, and must be assigned on the basis of 
their contents alone —unless they happen to join pieces that can be 
assigned or through the condition of the upper surface or faults 
in the marble can be placed with assignable pieces. But in gen- 
eral, where Reisch’s theory can be tested by this criterion, frag- 
ments whose assignment is certain on internal evidence fall in 
fairly well with the arrangement proposed. Thus, a and ὁ, tragic 
poets, Dionysia, and de and h, comic poets, Dionysia, have un- 
smoothed under-surfaces, and so have m and x, comic poets and 
comic actors, Lenaea. But of the fragments with smooth under- 
surfaces which could not be assigned by reason of their contents, 
only f’, tragic actors, Dionysia, and q, tragic actors, Lenaea, are 
placed and classified with certainty by Reisch, and for f’ the case 
is certain because Reisch identified in it the name of a tragic 
actor who appears in another list that is certainly Lenaean. 


δ4 HISTORY OF AOTORS AND ACTING IN ANCIENT GREECE 


Now «, as we have stated, rested on the wall; yza’, however, 
which we have assigned to the same category of comic actors 
(Lenaea) as x, has asmooth under-surface, and Reisch accordingly 
separates them. Before stating the argument against my view 
based on the difference in their under-surfaces, let us consider 
Reisch’s explanation of yza’, since, as he frankly admits, it cannot 
be regarded as the Dionysian Victors’-list. 

To prove that there was a list of victorious comic actors that 
was neither Lenaean nor Dionysian, Reisch appeals to the much- 
discussed law of Lycurgus described in the following terms by 
Vitae X. Orat. 841 f: εἰσήνεγκεν δὲ καὶ νόμους, Tov μὲν περὶ τῶν 
κωμῳδῶν, ἀγῶνα τοῖς χύτροις ἐπιτελεῖν ἐφάμιλλον ἐν τῷ θεάτρῳ καὶ 
τὸν νικήσαντα εἰς ἄστυ καταλέγεσθαι, πρότερον οὐκ ἐξόν, ἀναλαμβάνων 
τὸν ἀγῶνα ἐκλελοιπότα. In spite of the fact, he argues (p. 310), 
that the phrase εἰς ἄστυ καταλέγεσθαι is not wholly clear, yet it is 
evident that the victors in the Chytri received through this law a 
privilege that placed them on a parity with the victors at the 
Dionysia, and that thus the contest at the Chytri compensated the 
comic actors in a measure for the absence of a contest for them at 
the Dionysia. This Chytri victors’-list, he conceives, was inscribed 
on the architrave next to that which contained the comic poets 
victorious at the Dionysia. This explains also the smooth under- 
surface. What relation this Chytri list sustained to the genuine list 
of actors victorious at the Dionysia, after the contest for them was 
established at that festival, Reisch is obliged, of course, to leave 
undetermined. 

The weak point in this hypothesis is the interpretation put 
upon the phrase εἰς ἄστυ καταλέγεσθαι. Reisch admits that it is 
“nicht vollig unbestritten,” referring to the able discussion of the 
law by Rohde (Rhein. Mus. XXXVIIT | 1883], pp. 276 ff. = Κὶ 
Schr. Il, p. 407). But Rohde in this very article has made one 
fact entirely clear, viz., that the victors at the Chytri cannot have 
been entered in the catalogue of City victors. The phrase cannot 
be equivalent to εἰς τοὺς ἐν ἄστει νενικηκότας ἀναγράφεσθαι, nor was 
the list in which these victors were inscribed a κατάλογος τῶν ἐν 
ἄστει νενικηκότων, but a list of those who were eligible to be chosen 
to compete at the City Dionysia, as Rohde proved, i. e., a κατάλογος 


THE ACTORS’ CONTESTS AT ATHENS 55 


TOV κωμῳδῶν τῶν εἰς ἄστυ νεμεσθῆναι ἀξιωθέντων. The contest at the 
Chytri was thus similar in one respect, as Rohde has also shown, 
to the arrangement adopted for tragedy as described by the lexi- 
cographers under νεμήσεις ὑποκριτῶν. The archon had before him 
a list of eligible actors, from which he assigned to the poets by 
lot the number required for the exhibition. The two tragic actors, 
i. e., protagonists, who had won a victory at the Lenaea and 
Dionysia in any year were eligible for the coming year. There 
probably was some test, or κρίσις, of which we do not know, by 
which other protagonists and actors who had not reached the grade 
of protagonist could become eligible to be chosen for this honor 
and could thus have an opportunity to compete for the prize. As 
for the comic actors, since there was not an actors’ contest at the 
Dionysia, there was only one victor each year to be admitted to the 
list of eligibles without a test. The contest at the Chytri, which 
had existed before Lycurgus and was revived by him before his 
death in 325, seems merely to have compensated in this way for the 
lack of an actors’ contest at the Dionysia, namely, in that the 
victor at the Chytri was eligible at the coming Dionysia, as the 
victor at the Lenaea was eligible at the Lenaea the coming year, 
without further test. With so satisfactory an explanation of the 
law of Lycurgus at hand we can hardly accept that offered by 
Reisch, by which the highest honor within the reach of an actor 
in the fourth century was given for a performance which could 
have had only the slightest significance. 

It may be added that, as Rohde again points out, the phrase 
used by the Vitae X. Orat., νόμος περὶ τῶν κωμῳδῶν, shows that 
only κωμῳδοί were admitted to this contest at the Chytri, i. e., 
according to the Attic usage to which we have referred above, 
actors who were entitled to bring out old plays, or protagonists. 
And it is probable that the contest consisted in the acting of por- 
tions at least of old plays. 

If, then, yza’ must still be classified as Lenaean, what are we 
to do with the criterion which Reisch applies— the condition of the 
under-surface of the fragment, which is smooth, while that of x, 
which we place in the second column before yza’, is unsmoothed ? 

Reisch’s reconstruction of the monument as a whole is probably 


56 HISTORY OF ACTORS AND AOTING IN ANCIENT GREECE 


right in the main; but are the details as to the construction of the 
six sides sufficiently certain to justify the rigid classification of the 
fragments which happen to have their under-surfaces preserved ? 
I think not. We observe that the architraves over each of the six 
sides did not consist of a single block. For example, frag. d, con- 
taining the first column of the City list of comic poets and there- 
fore, according to the hypothesis, resting on the wall of the third 
side, was not the corner block, for its left edge is not cut at an 
angle, but square; hence another block joined it at the left on that 
side. Again, n and m, comic poets, Lenaea, join each other as 
ends of blocks; the juncture was in the middle of the architrave. 
In both these cases the blocks rested on a wall. But ¢, tragic 
poets, Lenaea, and vw, tragic actors, Lenaea, stood, by the hypoth- 
esis, on the open entrance side, and yet ὁ shows a straight join at 
the left and vw at the right, and vw was contiguous to d’o’, which 
was the corner block of that side. It would seem from this that 
the architrave on each side consisted of at least three blocks, and 
if this is so there must have been some sort of support for them at 
the point of juncture on the three open sides. In fact, Wilhelm, 
p. 93, remarks that the lower surface of w is smooth ‘“soweit 
erhalten, muss aber weiterhin als Ecke Lagerflache gezeigt haben.” 
And, of course, there must have been supports under the outer 
ends of the corner blocks. If we had the entire building before 
us, therefore, we should be prepared to find portions of the blocks 
of the architraves of the “open” sides worked smooth on the 
under-surface and portions dressed as Lagerflache. 

As to the pertinence of 2 and yza’ to the same category in 
spite of the difference between them in this regard, an explanation 
is possible that is entirely consistent with Reisch’s general theory 
of the arrangement of these lists. By his theory the architrave 
of the fifth side contained not only the comic poets, Lenaea, but 
also the corresponding comic actors. The former embraced at 
least five columns, the latter at least seven. Compared with the 
architrave of the first four sides these two lists demanded a good 
deal of space; the comic poets, Dionysia, for example, probably 
filled only seven columns, and this was the only document on 
the third architrave according to Reisch. It is entirely con- 





THE AOTORS’ CONTESTS AT ATHENS 57 


ceivable that only three or four of the seven columns of Lenaean 
comic actors were inscribed on the same architrave with the comic 
poets, and that the rest ran over upon the next architrave. This 
would account for the unsmoothed under-surface of # and for the 
smooth surface of yza’. And any explanation which would reason- 
ably account for this condition has as strong a claim to considera- 
tion as has Reisch’s hypothesis, with the added advantage that we 
are not obliged to resort to a doubtful interpretation of the law of 
Lycurgus. 

The fundamental part of Reisch’s theory, however, is his view 
that the comic contest at the Lenaea came to an end shortly before 
278. It is for this reason mainly that he rejects yza as Lenaean, 
for the names carry us down toward the end of the third century. 
The tragic contest at the Lenaea he also brings to a close at about 
the same time, and explains the long list of victors in the Lenaean 
catalogue, which also extends down to the end of the third century, 
as a record of victories with old plays performed at the Lenaea. 
This latter is purely conjectural, for we have no evidence whatever 
to support it. In the fourth century, certainly, no victory was 
awarded the τραγῳδοί and κωμῳδοί who brought out old plays at 
the Dionysia, nor in the third and second centuries to the κωμῳδοί 
who appear in this capacity in JG. II 975. The one bit of inde- 
pendent evidence which seems to point to the continuance of the 
comic contests at the Lenaea in the third century, the report of 
the five Lenaean victories of Hudoxus, Reisch casts aside by saying 
(p. 301) that, just because of [G. II 972, he must be placed before 
the year 285. What we know about the period of Eudoxus’ activity 
is slight, it is true, but tends strongly to show: (1) that he was 
not a poet of the Middle Comedy, (2) that he was not a contem- 
porary of Philemon, Menander, Diphilus, Poseidippus, and A pollo- 
dorus and did not win his surprisingly large number of victories 
against the greatest poets of the New Comedy, in other words, 
that his activity did not lie between say 310 and 285, and (3) that 
he probably flourished not a great while before the grammarian 
Apollodorus who gives us the notice concerning him. In fact, 
there is one bit of evidence that seems to prove that he was victo- 
rious at the City Dionysia in the year 181 8. c. The whole question 


58 HISTORY OF AOTORS AND ACTING IN ANCIENT GREECE 


of the date of Eudoxus has recently been discussed anew by Capps’ 
with reference to the issue raised by Reisch and need only be re- 
capitulated here. Pollux 7. 201 speaks of him as τὶς τῶν νέων 
κωμῳδῶν, citing his play Naukleros. Diogenes Laertius 8. 90 
(not Suidas, as Wilhelm, p. 37, says), quoting Apollodorus the 
grammarian, says that there were three persons of the name, the 
third being Σικελιώτης παῖς ᾿Αγαθοκλέους ποιητὴς κωμῳδίας. νίκας 
ἑλὼν ἀστικὰς μὲν τρεῖς, Ληναϊκὰς δὲ πέντε, καθά φησιν ᾿Απολλόδωρος 
ἐν Χρονικοῖς. Judging by the two titles preserved, Hypobolimaios 
and Naukleros, Dietze De Philemone comico, p. 80, plausibly sug- 
gests that Eudoxus was an imitator of Menander, and conjectures 
that, in view of the exceptionally large number of his victories, 
he was one of the notable representatives of the New Comedy and 
that his was the seventh name, now lost, in the list of ἀξιολογώτατοι 
given by Anon. De com. Kaibel, p. 91, 1. 65. Further, in the list 
of Lenaean victors which we possess almost complete down to ca. 
305 B. 6... the name of Eudoxus does not appear, and it is hardly 
conceivable that he was so successful against the great poets who 
flourished between 305 and 385. Capps then restores his name 
in /G, 11 9756 as victor in the year 181 B. c., where the remains 
both of the title and of the name point to him alone, TT[OQH EY ]JA[O- 
ΞΟΞΣΝΑΥΊΚΛΗΡΩΙ. 

Now Reisch disposes of 9770, which Wilhelm following Kohler 
had assigned to the catalogue of comic poets, Lenaea, by giving 
it to the list of comic actors, apparently only because it has a 
smooth under-surface. This can scarcely be considered a sufficient 
warrant for giving up the classification based upon the identifica- 
tion of the names. Agathocles and Biottus appear in 975 as poets 
in the years 160 and 167 respectively, and Ariston is known as a 
comic poet from other inscriptions and his date has been established 
as a contemporary of the other two by Preuner and Kirchner 
(see Wilhelm, p. 135). 

Reisch’s opinion that the Lenaean comic contest was discon- 
tinued by ca, 285 is based upon the peculiar fact in regard to the 
didascalic inscription 972 that the first column contains comic Di- 
dascaliae, the second tragic. The comic record therefore stopped 


| Berl, phil. Woeh, 1908, p, 637. 





THE AOTORS’ CONTESTS AT ATHENS 59 


at the end of the column, and the date reached by the end of 
the column was not far from 285. Two explanations suggest 
themselves of the discontinuance of the record at this point: (1) 
that the Lenaean comic contest was thereafter discontinued, or (2) 
that the record was continued in another place. The latter 
explanation was advanced by Capps AJA. IV (1900), p. 86, who 
first observed what conclusions were to be drawn from the juxta- 
position of the tragic by the side of the comic record. He says 
that the comic Didascaliae ‘‘were continued, if at all, in another 
place,” adding that it seems unlikely that the Lenaean contest 
was discontinued at this time. Wilhelm, p. 37, takes the same posi- 
tion, insisting that, if the contest was for a time discontinued, it 
was later revived, as the notice about Eudoxus and the list of 
poets 9770 show. Here again we must acknowledge that we know 
too little about the circumstances under which the inscription was 
put on stone and the arrangement adopted and the space available 
to warrant any hard-and-fast theory based upon the phenomenon 
observed on this fragment. Too many simple explanations are 
conceivable to make it advisable to adopt one that involves serious 
consequences in the interpretation of a number of other documents 
that themselves present no especial difficulty. 

Our conclusion is, then, that we must for the present decline 
to be guided in the assignment of fragments of the lists of victo- 
rious actors by the material criterion set up by Reisch, at least 
until more solid and convincing arguments are advanced by him 
than he permitted himself in the preliminary article in which he 
sets forth his views summarily. 


THE ATHENIAN VICTORS’-LISTS—TRAGIC AND COMIC 
ACTORS 


For convenience the assignable fragments of the Victors’-lists 
are here given with an indication of the chronological deductions 
to be drawn from them, and with some improvements in the 
text. For explanations of departures from Wilhelm’s text the 
reader is referred to the catalogue of actors in the Appendix, 
under the name concerned. If only the end of a name is pre- 
served on the stone and either no restoration is made or that 
made is regarded as uncertain, the fragmentary name will be 
found at the end of the Appendix (pp. 139 ff.), listed alpha- 
betically by the first extant letter. Of the fragments left 
unassigned by Wilhelm, a number have been correctly, in the 
writer's opinion, assigned by Reisch, viz. d (s), ο΄ (n) to 
Lenaean tragic actors, f to Dionysian tragic actors, n (7) to 
Lenaean comic poets. Frag. m’ (a’), which Reisch assigns to 
the Lenaean comic actors, must still be considered doubtful; 
but I have thought best to include the names in the Appendix. 
If Reisch is right they belong to the latter half of the third 
century. Frag. g° I have ventured to classify with the comic 
actors, according to Capps’s conjecture. Frag. o must certainly be 
regarded with Wilhelm as a list of comic poets, Lenaea, rather 
than, with Reisch, of actors. Fragg. ε΄, λ΄ (y), and k’ ἵ (qr) can- 
not yet be safely assigned to any category. 


THE ATHENIAN VICTORS’-LISTS 61 
TRAGIC ACTORS—DIONYSIA 
I. p II. p Ill ΙΝ. Γ΄ 
ὑποκριτῶν τρ[αγικῶν |ca.400 ca. ca. 
449 ὩἩρακλεί[ dys — 360 320 
ca. 448 / Nexduaxol[s-— Tf] to 
Μυ[ν]νίσκος -ὀ Ὁ : 
Σαώνδας [|] ca.390 \ Νί[κανδρος -ὀ Τ 
to ἔΑνδρων || ca.390 {{Θε[όδωρος -ὀ *F 
Xai[p]éorparos | + : "Alo -- ἴο 
Μενεκ]ράτης ||| *| δ γ᾽ Aen — 
ca.430 ἃ Λεπ]τέν[ης — ca.380 \’ Apifor — to 
ca.430 { Κλέανδρο]ς | ca. 380 1 
cd. 
285 \. 
O to 
: OSs ΑἰσχΊλ[ος — = 
Ἰὸ Πλ]εισθένη ἜΤ 
: ca. ca. | Το]ργοσθένης || ἜΤ 
ca.400 \. ca. 360 320 278 \’Era]uctvwy || = * 
Since the names of Callip- The date of 11.5-9istoo Inthiscol- These names are in the 
pides and Lysicrates, who early for Neoptolemus, umn were first hand, but see the 
were active ca. 420, do not Thettalus, and Atheno- Thettalus, Lenaean list, where Aes- 
appear here, the first vic- dorus, and Aristodemus Athenodo- chylusand Epameinonare 
tory of Leptines must be seems not to have won a rus, Neop- just before the beginning 
placed ca. 430. For Cle- City victory; but see No. tolemus, of the second hand. 
andrus see App. No. 293; 62. The position favors and Nicos- Reisch identified the 
nothing is reported in 1.10 Theodorus in 1.6, and Ni- tratus No. fragment. The lower 
by Wilhelm. candrusin1l.5is probable. 369. margin is preserved, 


+*Names marked by the asterisk (*) are found in the list for the other festival; those 
marked by the obelus (7) are known to us from other sources. 


62 


HISTORY OF ACTORS AND AOTING IN ANCIENT GREECE 


TRAGIC ACTORS—LENAEA 


I. rs II. stu ΠῚ. tuvw 
ὑποκριτῶν τραγικῶν =| ca. 400 / Χαρίδημος -- ca. 345 
ca. 432 / Χαιρέστ[ρ)]ατος | * Φίλιππος — 2 
Με]ν[ἐκρά]τη: | * τς Φύτιος || ᾿Αθηνόδωρ]ο ]Ϊ] τ 
ΠΕ τ ΠΥ οι ns III Εὐπόλεμο[- — ane CEPR, s|l 
---- Θρασύβο[ vros] | ee s | 
Μυννίσκ]ος || — *t| ca. 385 \"Apirrdd[nuos] } ἡ ᾿Αρ[ιστοφ]ῶν | 
ca. 425 ἃ Καλλιππί]δης Π t\ca.385 / Mipwr || ca.330 \ Io - 
ca. 425 / Nexborpa)ros ||] Τ KA ]ed[Sapas] | ca. 330 | Ν[ικόστρατος -ὀ  ¢ 
J Θεόδωρος ||| Ἐ7 *Apxlas -- + 
to ” 
f Irrapxos ΠῚ Τ Πραξία[- -- 
apna ἴο ς Ἱερομνζήμων]) II] t 
ἐς ca. 360 \" Αν]δροσθένης | SA — 
ca. 360 (Νεο]πτόλεμος | Ὁ Nu -- 
ΘετταΪ]λὸς || Τί ca.320 ᾿Αρι(στόκριτος — TF 
το OS cae aie sll 
"Apior |lwy | 
ca. 400 σα ΑΒ \ 5.65 ἀδΊης | 
For the beginning of the The period of the first group The remains in 1. 3 seem to 


contest see p. 46. In 1. 4 Wil- 
helm restores Leptines from 
the City list; but the name 
does not fill the space. Cle- 
andrus, Lysicrates, etc., stood 
in the lower half of this 
column. For Callippides 
(Reisch) instead of Hera- 
cleides (Wilhelm) see Nos, 
274, 214, 


is furnished by Aristodemus, 
of the second by Hipparchus 
and Theodorus, of the third 
by Neoptolemus and Thetta- 
lus. In 1. 11 Wilhelm suggests 
[Φιλωτάδ]ης. 


favor a name in -pos rather 
than in -uos (Wilhelm),! OSH, 
The date also favors Atheno- 
dorus. The second group is 
dated by Nicostratus (who 
might be restored in 1. 13 in- 
stead of in 1. 8), Archias, 
Hieromnemon, and Aristocri- 
tus. The last three lines are 
left blank. 








THE ATHENIAN VICTORS’-LISTS 


TRAGIC ACTORS— LENAEA 


IV. vw V.dq VI. οἷα 
ca. 320 COL ZOO? eis tev τῆς JU ea. 260 ,"Exeros | III 
ES Te "E]rinkos {{{] 
Baxx — Κλεό[δωρος — Τ 
Στεμφἰ[ύλιος — ca Αἰσχύλ[ος — ον 
ἴο Ξένων | ᾿Αρίμνη[στος -- 
Χαρίας -- ᾿Επαμε[ίνων - ἔἕ ta 
᾿Αντιμέ[νης — ᾿Εροτ[ίων — 
Τεισίλα[ς —] | ca. 278 \’ ΑἹρίσ[ταρχος — ἡ 
ca.300 \ Τ᾿ο[ργοσθένης — ἽΠοα. 218, Ἡράκί[λειτος — Τ 
ca.300 / Νέκων || -- "Adééavd[pos — Τ 
᾿Αριστόνιζκος — Καλλικλῆς || 
Πύρριχος — ΕἸύρήμων | ca. 235 
to ᾿Αγήτωρ | to ᾿Ισο]κράτης | ca. 235 {-Πάμφιλοϊς“ — 
Θηραμέν[ης — J . uvos || Σωσίθεος || 
ca. 290 | Κλεῖτος — Κλεόνικ]ος | t| to Πολύκριτος | 
᾿Αρκεσίλα]ος | Τ Ναύσων | 
σα nA COW eed ieee Ca. 225 \’ Αρίστων | 


The date of the first group 
is furnished by Aristocritus 
in 609]. iii, and by Gorgosthe- 
nes, a contemporary of the 
painter Apelles toward the 
end of his career. Gorgos- 
thenes’ first Lenaean vic- 
tory is notably earlier than 
his first City victory. If 
Polus competed at the Len- 
aea, his name stood at the 
head of this column. The 
last two lines are left blank. 


The first group is written 
in the first hand, the second 
in the second. The second 
group is also dated by Hera- 
cleitus, Alexandrus, and 
Cleonicus. 


63 


VAT. ο΄ 
ca. 225 { NI 


Traces of 
writing in 
1. 1, not re- 
ported by 
Wilhelm, 
show that 
the record 
was contin- 
ued in this 
column. 


64 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


COMIC ACTORS — LENAEA 





Zs II. Lif, = 
[{7ἷ71τοκριτῶν κωμικῶν») ca.410 / . ca. 375 | Sdrjupos P |-| \ea. 345 
ca. 442 |. ἢ ἴο Φιλ)]ήμων || 
οα. 8365 \ Καϊλλίστρατίος -- 
ca. 365 | ἃ 
ἴο 
\ 
to to | 7 to 
ca. 355 \. 
ca. 355 /. . . κων {{|] 
Παρμένων | 
Λύκων || 
to (nN 
Ν[α]υσικ[ράτης — 
τ ; ( Aniosxom ΞΞ 
ca. 450}. δα. 815 : ca. 345 \ Polp[ulwr — ca.315 
See p. 49. Hermon, the For the positions of # and 
only victor of this period x see p. 48. The upper 
whom we know, was victo- margin of ¢ and the lower 
rious shortly after 423; see of x are preserved. 


No. 183. 


THE ATHENIAN VICTORS’-LISTS 65 
COMIC ACTORS—LENAEA 
V. yz VI. yza’ Vila 
ca.315 /’Apicrayédpas | *lea. 275 / Πολ[υκλῆς — *T\ca. 240 /. 
beat Κάλλιππος {{{| *T Λυκίσ[κος — 7 
᾿Ασκληπιόδωρος Π ἘΠ Σωσικλ[ῆς — 
4 IT]JoNvevkros | to Πολύζηλοϊ[ς- — 
ca. 300 ἃ Π]υρραλεὺς | Ilv@dparos | 
ca. 300 / Μ]οσχίων || t Καλλίας ||| to 
 snploah | ca. 258 ἃ Μενεκ[λῆ!ς | 1) 
to “Ι]ερώνυμος {{{] tica. 258 4 Δ[ημήτρ]ιος | | ἡ 
( ΑἹριστόμαχος ||| ΤΠ Πιτθεὺς | Bid — 
ca. 290 ἃ Δέρκετος | — * ts Ἡρακλείδης || Ge[p — 
ca. 290 {/ - -- -- - ---- ca. 215 \ An[u -- 
Φιλοκ[λῆς - * Κηφισόδω]ρος | 1 
᾿Αριστοκράτης] οάδεν. τ᾿ ΠΣ | 
᾿Εμμενίδης | *ica.248 (Ἡ[γησί]ας || Ἷ 
ca. 278 \ Αὐτόλυκος | 5 ἊΪ Δ[ημοϑ]κράτης | 
ca.277( Φιλωνίδης | ἜΤ Φιλοστέφανος | 
ca. ae Σωκράτης | ca. 240 \‘Epuddarros | tT 


See p. 49. Callippus and Ascle- 
piodorus date the first group, Hier- 
onymus and Aristomachus the 
second, Philocles and Autolycus 
thethird. Thesecond hand begins 
with Philonides, 


Polycles, Lyciscus, and Menecles 
date the first group, Hegsias and 
Hermophantus the third. The la- 
cuna in |. 13 seems to me to be of 
six letters; Wilhelm gives five. 


Nothing was 
written after Δημ-. 
The Lenaean com- 
ic contest may 
have come to an 
end toward the 
close of the third 
century. 


66 


HISTORY OF ACTORS AND ACTING IN ANOIENT GREECE 


COMIC ACTORS — DIONYSIA 


1. 
[[ποκριτῶν κωμικῶν») 
ca. 325 
to 
ca.318 g (uncertain) 
ca.318 [᾿Αρισταγόρ]α- - * 
ο Κάλλιππο]ς {[{|] *T 


ca. 311 {᾿᾿Ασκληπιόδω]ρος 1 |-|*T 
ca. 310 


ca. 300 


See above, p. 60. The victors for 312 and 
311, Callippus, Jr. and Asclepiodorus, stood 
somewhere here; and it has been plausibly 
suggested, AJP. XX (1899), p. 404, ἡ. 3, that 
frag. g should be restored with their names, 
ef. the first three lines of yz. 


IL. be 
ea. 300 
to ΕΣ 
δα. 392 χ᾽ Αριστόμα]χ[ος - *f 
οα. 90 / Δη]μέας | Tt 
᾿Εχ]ένικος || 
Alépxeros | * 
᾿Αριστίων || 
Φιλωνίδης — ἘΤ 
ἴο Φιλοκλῆς — = 
KadXlorp[aros — 
᾿Εμμενί[δης -- * 
Πολυκ[λῆς -- *+ 
ca. 274 


See above, p. 50, for the explanation of the 
position of δ' οε΄ in the column. 


DOUBTFUL 
m 

. κἸύδης III A- 

. ns | = - 

εν wp Ill A- 
πὰ» ἢ Βο - 

. « « « σόδωρος | A- 
᾿Αρισ]τομένης || KA - 

Διον])ύσιος | Δι - 
. vil Zw - 








APPENDIX 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 


INTRODUCTION TO THE APPENDIX 


The writer has endeavored to include in the following catalogue of 
Greek actors all tragic and comic actors who are mentioned by the Greek 
writers down to and including Athenaeus and all who are found in the 
inscriptions. Omissions will of course be found; but it is hoped that 
they will not be numerous or serious. Under each name are given as 
succinctly as possible all the essential facts in the life of the actor in his 
professional capacity, so far as they are recorded. The quotations from 
the sources, especially the literary sources, are made intentionally full, 
that the collection may prove useful to students of this side of the 
ancient drama. The full Greek name, with ethnicon or demoticon where 
recorded, is first given in bold-faced type; where the ethnicon is added 
in English, the sources which speak of the person as an actor do not 
record it, but it is inferred from secondary sources. After the name the 
function is given in which the person appears: e. g., v. τ. (ὑποκριτὴς Tpa- 
γικός) OF x. (κωμικός) are used for actors whose names are given in the 
Athenian Victors’-lists and in other documents which so designate the 
actor, tpaywdds and xwywdds for those who are so designated in the 
sources. If the person is mentioned in different sources under different 
titles, the fact appears in the article. With names that are associated 
with a festival the festival and the seat of the festival are regularly 
given; but “Lenaea” and “ Dionysia” alone refer to the Athenian festi- 
vals. Whenever possible the date of the actor’s activity as indicated by 
the sources has been given, with such precision as the available informa- 
tion permits; the dates which accompany references to the Athenian 
Victors’-lists are those of the first victory. In the case of Athenians a 
reference has been added to Kirchner’s Prosopographia Attica; when 
the name (if before Augustus) is not found in Kirchner the fact is stated, 
even though the name has come to light since the publication of that 
invaluable work—and this is more often the case. References are not 
usually made to the articles in the Pauly-Wissowa Eneyclopddie. “W.” 
means δ Wilhelm’s Urkunden.” 

The aim has been to include in the list all persons who are known to 
have acted Greek plays in the original down to about the third century 
A.p. Since the purpose of the collection is to exhibit the history of 
acting in Greek countries so far as this history is associated with the 
names of actors, persons who are better known as poets have been in- 
cluded if the notices which we have tell us something definite or sig- 
nificant regarding their careers as actors. For example, the comic poet 

68 








PROSOPOGRAPHIA HISTRIONUM GRAECORUM 69 


Crates (No. 307) and the tragic poet Sophocles (No. 441a) are found in 
the list, but not Thespis or Phrynichus or Aeschylus or the other early 
tragic poets, all of whom are reported in a general way to have acted in 
their own tragedies. Even the story about Aristophanes is included 
(No. 70a), although it is not well authenticated. Roman actors of Greek 
tragedies have, as a rule, not been included, nor Greeks who seem to have 
confined themselves to the performance of Latin plays or Latinized 
Greek plays, although the line was not always easy to draw. However, 
some inconsistency may be detected in this regard. It must be remem- 
bered that our information is not always sufficient to enable us to deter- 
mine the facts upon which to base the distinction. Nero (No. 860 α), in 
view of his aspiration to be an actor of Greek plays, and the interest of 
the notices about him, has been taken into the list. 

In dealing with the personnel of the dramatic companies of the third 
century and later it was thought best to include those who are mentioned 
in the capacity of didascali and hypodidascali—not that these persons 
were in any sense actors when serving in the companies as teachers, but 
because in some instances these persons are known to have been actors 
as well as teachers. For a similar reason it was decided to include the 
didascali of the earlier period who brought out plays for others, 6. g., 
Philonides and Callistratus, although we do not know that these persons 
actually performed in the plays which they brought out for Aristophanes. 
Their function, however, was certainly very similar to that of the κωμῳδοί 
and τραγῳδοί who brought out old plays from the fourth century on, and 
it was felt that the purpose of this list would be better served by their 
inclusion than by their omission, since the facts are clearly stated under 
each. But it is possible that some inconsistencies will be found in the 
dealing with this class of persons. 

The more important inscriptional documents which contain the 
names of actors have been dated by various scholars with a fair degree 
of accuracy, and in assigning dates to the actors mentioned in these 
documents no attempt has been made, generally speaking, to do more 
than record the dates which seem to have found general acceptance, as, 
for example, Homolle’s dating of the Delian choregic inscriptions and 
Kern’s dating of the victors at Magnesia on the Maeander. In the case 
of the Athenian Victor’s-list, however, a closer approximation to the 
exact date of the first victories has been attempted than ever before 
(above, pp. 61 ff.), in order that, in addition to an indication of the 
actor’s general period, we might have a suggestion, represented in fig- 
ures, as to his chronological relationship to his contemporaries. ‘“ Cirea”’ 
preceding these figures is an acknowledgment that only an approxima- 
tion is attempted, although it is believed that the actual error is rarely 
larger than a decade. 

The following statements will be convenient as showing the position 


70 HISTORY OF ACTORS AND AOTING IN ANCIENT GREECE 


which the writer has taken regarding the dates of a number of important 
series of documents: 

The Soteric catalogues of Delphi.—In assigning dates to the four 
Soteric lists SGDI, 2563-66 I have followed Pomtow Jahrb. f. klass 
Phil. XLIII (1897), pp. 819 ff., who gives the four years 272/1, 271, 270, 
269. Beloch, however, has made an argument in Clio IT (1902), pp. 210 ff., 
in favor of the quadrennium 264-261, not excluding the possibility of 
even the next quadrennium 260-257. My reason for still preferring 
Pomtow’s dating is, in the main, as follows: A whole group of per- 
formers who appear in the Soteric lists are found also in the Delian 
choregic inscriptions, which are datable to the year, and in the Athenian 
Victors’-lists, for the names in which we can obtain approximate dates. 
In stating his case Beloch mentions but one of these persons, Telestes. 
Now it is conceiveable that a single person may have performed at 
Delphi a generation after his appearance elsewhere, but when we find 
not one such instance, but nearly a score, the weight of improbability 
against the assumption becomes so great as to weaken seriously the 
force of any other argument in its favor. The following table will show 
that it is advisable to assign the Soteric lists to as early a date as pos- 
sible. The Soteria were founded to commemorate the events of the year 
279. We know too little of the external facts regarding the constituency 
of the Amphictyonic Council in this period to accept the results of 
Beloch’s reasoning on this point against the following prosopographical 
evidence: 


























No. Performer at the Soteria Date Athens | Delos 
SDP PIOSENCIUE 825 5.o Ἐπ tinwe aba 269 ca. 276 
{ΕΥ̓ δος ποτ ΡΥ noma a atteimie a ete mee 270 | “ 262(?) 
ἘΠ Στ ἔντερον ΜΡ Ὁ watt etemaien 270, 271 seta (2. 
ΠΝ ΘΟ cs «oa ch hae he πο ΝΟ 270 μι 289 
εὐ ἮΝ Σ ἘΣ ΤΥ ΤῊ ἈΘΆΡΣ 3 271 280, 279 
SIs, | ALOPACIOIUIS. 5.x cs cance desu eakceee limi ae “« 9278 
565} COOPLISOUOTUS 2 sis sya ἀκ ον ΝΟΥΣ ἡ} 272, 271 “ — 250(?) 
BOS} ΘΟ ΟΣ; τὺ; sc ck νυν ἈΝΈΒΙ ὅπ ΝᾺ 272 
ΠΥ} ΘΙ. o's vice φόνον Wieden Veaenael Sennen “ 270 
ΠΟΥ δον ΘΙ Lac cet ws coe vacates ον 272 259(?) 
eel) PROMOTION... sawed sat ek debe δυο ae 270 « 800 
eT ἀρ ἦτο ΕΓ ΜΕΝ hs palin pene 272 268 
MARA POTIONS Ad ahora din caieiietareica a ea ταηδος 272 “ 278, 275 | 280 
88 | Telestes\.. cs. iisc.cekccdsvaseveas PRU 284 
BOD | Philonides.....cseccesetawekessivnns 272-269 “ 285, 276 | 263 
Diophantus, aulete................ 272 | 280 
| Onesippus, didascalus aulete...... 272 | 261 


The catalogues of Oropus, Thespiae, Orchomenus, Tanagra, and 
Acraephia.—Jamot has shown in BCH, XIX (1895), pp. 346 ff., that the 
agonistic lists from Thespiae fall into three chronological groups. To 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM Zak 


the first group, which he dates between 167 and 146 8.c., belongs No. 11, 
p. 336; to the third, No. 15 (ΤΟ, VII 1773), which is a little before 161 4. p., 
No. 17, between 161 and 169 4.p., and No. 18 (VII 1776), in the first half 
of the third century A.p., after Caracalla. The second group, comprising 
Nos. 13 (VII 1760) and 14 (VII 1761), belongs to the same general period 
as the lists from Oropus, 7G. VII 416, 417, 419, 420, with which it has a 
number of names in common. Five of the artists mentioned in the 
Thespian list No. 13 recur in the three lists from Orchomenus, 7G. VII 
3195, 3196, 3197, and in a similar way the lists from Tanagra, 7G. VII 
540, 542, 543, and Acraephia, 7G’. VII 2727, are bound together with 
those from Thespiae, Oropus, and Orchomenus. It is clear, therefore, 
that the second Thespian group is of the same general period as the lists 
from the other Boeotian festivals. Now Reisch in De mus. cert., pp. 111 ff., 
following Theodore Mommsen Herm. XX (1859), p.274, n. 2, has shown 
that the Oropian inscriptions were inscribed in 86 B.c. or soon afterward, 
i.e., after the victory of Sulla, and Dittenberger assigns the Acraephian 
list to the same time. Of the four lists from Oropus it is clear that Nos. 
416 and 417 are earlier than No. 419 and that 420 is not far removed from 
the other three (Dittenberger ad loc.), and we must also agree with 
Jamot that the three Thespian lists of the second group are not separated 
from each other by any considerable interval, and that this is true also 
of the three from Orchomenus (p. 356, n.). The lists from Thespiae, 
Orchomenus, and Tanagra may be a little earlier or a little later than 
those from Oropus and Acraephia, so far as the available evidence can 
show their relationship. Accordingly in the Appendix I have thought it 
wise to indicate the relations of these several series of lists simply by 
assigning the lists from Oropus and Acraephia to a date “soon after 
86 B.c.,” and all the rest to a larger period extending before and after 
86, i. e., “ca. 100-75 8. c.” 

The Delphic decrees pertaining to the Athenian technitae.—Several 
actors are mentioned in the two decrees of the Amphictyonie Council 
which grant and confirm certain privileges to the Athenian technitae, 
IG. ΤΊ 551 (of which BCH. XXIV, 1900, p. 86, is the Athenian duplicate). 
For the first of these decrees I accept the date of Pomtow 278/78. ο., 
for the second that of Ferguson Priests of Asklepios (Athenian archon 
Demostratus), 130/29 8. c. 

A very considerable addition to our list of actors is due to the three 
decrees of Delphi which Colin has published in BCH. XXX (1906), 
pp. 272 ff. They are in honor of the Athenian technitae, who, on three 
occasions, sent to Delphi large delegations of theori, singers, and thy- 
melic and scenic performers, whose names are all mentioned. The 
decrees bear no dates, but Colin (pp. 284 ff.) has shown, from the five 
names which recur in inscriptions of the dates 137/6, 1381/0, and 130/29, 
that No. 48 must belong either to the pythiad of Timarchus 138/7 


72 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


(I follow Ferguson’s latest dating) or to that of Dionysius (6 pera Λύκισκον) 
128/7. He decides provisionally for the latter date because of the 
character of the writing. No. 50 he is inclined to assign to 106/5 in 
spite of the indications of the writing, and No. 49 to 97/6, though he 
acknowledges that his calculations as to the two latter are not free from 
doubt. 

There can be no doubt that Colin’s three dates represent fairly 
closely the period to which these decrees belong and their relationship 
to each other. No. 48 is clearly earlier than 49 and 50, for none of the 
names in it recurs in the other two, while the sons of two of the per- 
formers in 48 appear in 49 and one in 50, and four of the technitae of 48 
can be identified as the fathers of persons who became ephebi between 
106 and 100 8.c. But I should be inclined to assign 48 rather to the 
earlier of the two pythiads, that of Timarchus 1388/7 rather than with 
Colin to the latter, that of Dionysius 128/7; for five of the performers 
mentioned there appear in the lists of victors at Thespiae which Jamot 
places in the period 167 to 1468.0. Even if the Thespian lists are 
placed as late as possible, the interval 146 to 128 seems somewhat too 
great. I have accordingly referred No. 48 to the period 138-128 B. Ὁ. 

Nos. 49 and 50 are not far apart, for five names appear in both. 
They clearly belong near the end of the second and beginning of the 
first century, for five of the performers in 49 and 50 are known from the 
lists of victors at Thespiae (second group), Oropus, Orchomenus, and 
Tanagra, all of which are assigned to the period 100-75 Β. ο. Colin’s 
judgment in regarding 50 as earlier than 49 is confirmed by another 
consideration: four of the performers in 49 were ephebi in 107-104 (one 
as early as 119/8). The date 97/6 which Colin assigns (the pythiad of 
Medeius) therefore seems intrinsically plausible; for it is hardly possible 
that these persons took part (as citharists, tragode, and singers in the 
paean) in the pythiad of Agathocles 106/5. There is no such objection 
to assigning No. 50 to that year, with Colin. 

I have not hesitated to designate all the representatives of the 
Athenian technitae mentioned in these three decrees as Athenians, 
although only the father’s name and not the ethnicon is given. This is 
not done on the assumption that all members of the Athenian guild 
were Athenians; the Athenian Victors’-lists prove that this was not the 
case. But it so happens that, whenever any of the persons who consti- 
tuted these theoriae is found in non-Attie inscriptions, he is always 
designated as ᾿Αθηναῖος (nine times), and a large number in addition (I 
have noted twelve) occur with their demotica in Attic inscriptions. It 
would appear, therefore, that the guild selected as members of these 
splendid delegations to Delphi only those of its members who were 
Athenians. 


APPENDIX 


1. A-, victor in IG. II 977 m’ (αΎ col. ii, 1. 2, W. p. 164, latter part of 
the third century. Doubtful if actor. But see Reisch Z6G. 1907, p. 306. 

2. A-, victor in IG. II 977 m’ (a’), col ii, 1. 6, W. p. 164, latter part of 
the third century. Doubtful if actor. But see Reisch Z6G. 1907, p. 306. 

3. ᾿Αγάθαρχος, κωμῳδός, by the technitae of Asia and the Hellespont 
νεμηθεὶς σὺν τῇ ὑπηρεσίᾳ ἐπιτελεῖσαι τοὺς τῶν Διονυσίων τῶν ἐν ᾿Ιάσῳ ἀγῶνας, Ca. 
151 Β. 56. Inse. Iasos, Lebas-Wad. III, 281, Michel 1014. 

4. ᾿Αγαθήμερος ΙΤυθοκλέους ᾿Αθηναῖος, as ὗ. καινῆς τραγῳδίας victor at the 
Musaea αὖ Thespiae shortly before 161 a.p., IG. VII 1773; BCH. XIX 
(1895), No. 15, p. 341. 

5. ᾿Αγαθόδωρος, κωμῳδός, member of the guild of technitae at Ptole- 
mais in the reign of Ptolemy Philadelphus. BCH. IX (1885), p. 182, 
Michel 1017, Ditt. Orient. Gr, Inser. 51. 

6. ᾿Αγαθοκλῆς ᾿Αγαθοκλείους Μιλήσιος, v. «., victor at the Romaea at Mag- 
nesia, middle of the second century B. c., acting the Homoioi of Metro- 
dorus in the contest of new plays. Kern Inschr. v. Magn. 88 a. 

7. ᾿Αγαθοκλῆς Σωκράτους, Athenian, κωμῳδός, theorus of the Athenian 
guild of technitae at Delphi ca. 97 B. c., participating in the paean and 
in the scenic contests, BCH. XXX (1906), No. 49, p. 277, 11]. 16, 22, 33. 
Not in Kirchner. 

8. ᾿Αγησίστρατος, tpaywods at the Dionysia at Delos in 171 B. c., BCH. 
IX (1885), p. 147. 

9. ᾿Αγήτωρ, ὕ. 7r., once victor at the Lenaea ca. 294 8. ο., IG. II 977 
w(b’), ὟΝ. p. 145. 

10. ᾿Αγιμένης Φιλομένους Σικυώνιος, τραγῳδός at the Soteria at Delphi in 
271 B. c., SGDI. 2564, 1. 57. 

10a, ’Avp. ᾿Αγχάρηνος Φαίδρου ᾿Εἰφήσιος, κωμῳδός περιοδονείκης Καπετωλιο- 
νείκης παράδοξος, archon of the technitae, time of Caracalla, CIG. IV 6829, 
1. 21, unknown provenience, but probably a decree of the Teian guild 
whose seat was at Lebedos. 

11. ᾿Αθη-, v. 7., victor at the Dionysia ca. 385 8. c., IG. 11 977 p(e’), 
W. p. 137. Cannot be restored ᾿Αθηνόδωρος] No. 13 on account of the date. 

ll a. ᾿Αθήναιος (?), tpaywdds, Perinthian decree of the second century 
B.C. or earlier, see No. 520. 

12. ᾿Αθηνίων, apparently a tragic actor, teacher of Leonteus, first cen- 
tury B. c., Amarantus apud Ath. 348e, quoted under No. 313. See V6l- 
ker, p. 151. 

13. ᾿Αθηνόδωρος, v. r., victor at the Dionysia in 342 and 329, IG. II 971 

(6) and ἢ, W. pp. 26, 28. In 341 acted the Antigone of Astydamas, the 
73 


74 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


Teukros of Euaretus, and the Orestes of Aphareus. Accompanied Alex- 
ander to Asia. Competed with Thettalus at Tyre in 332 and was awarded 
the victory, Plut. Mor. 334d δ. γεγόνασι δὲ κατ᾽ αὐτὸν τραγῳδοὶ μὲν οἱ περὶ 
Θετταλὸν καὶ ὁ ᾿Αθηνόδωρος, ὧν ἀνταγωνιζομένων ἀλλήλοις ἐχορήγουν μὲν οἱ 
Κύπριοι βασιλεῖς ἔκρινον δ᾽ οἱ δοκιμώτατοι τῶν στρατηγῶν. ἐπεὶ δ᾽ ἐνίκησεν 
᾿Αθηνόδωρος, ᾿ ἐβουλόμην av’ ἔφη (i. 6., Alexander) “μᾶλλον ἀπολωλέναι μέρος 
τῆς βασιλείας ἢ Θετταλὸν ἐπιδεῖν ἡττημένον. Fined by the Athenians for 
failing to keep his engagement, the fine was paid by Alexander, Plut. 
Vit. Alex. 29: ἐπεὶ δὲ ᾿Αθηνόδωρος ὑπὸ τῶν ᾿Αθηναίων ζημιωθείς, ὅτι πρὸς τὸν 
ἀγῶνα τῶν Διονυσίων οὐκ ἀπήντησεν. ἠξίου γράψαι περὶ αὐτοῦ τὸν βασιλέα. τοῦτο 
μὲν οὐκ ἐποίησε, τὴν δὲ ζημίαν ἀπέστειλε παρ᾽ ἑαυτοῦ. On such fines see under 
Nos. 62, 155. Participated in the marriage festival at Susa in 324, Chares 
apud Athen. 538 f: ὑπεκρίθησαν δὲ τραγῳδοὶ μὲν Θεσσαλὸς καὶ ᾿Αθηνόδωρος καὶ 
᾿Αριστόκριτος, κωμῳδοὶ δὲ Λύκων καὶ Φορμίων καὶ ᾿Αρίστων. His name is not 
to be restored in the Dionysian Victors’-list IG. II 977 p(e’), W. p. 137, 
*AGn-, because the position implies a date ca. 385 for the first victory there, 
which would make him a very old man at the time of his association with 
Alexander. But the restoration in the Lenaean list IG. II 977 v(x), 
W. p. 145, col. iii, 1.3, [Αθηνόδωρ] os II, ca. 342 B.c., is very plausible, see 
No. 535. 

14. ᾿Αθηνόδωρος Ἡρακλείδου, κωμῳδός, ca. 180-150 B.c. Ἡράκλειτος Pop- 
μίωνος χορηγήσας πρότερον (ἐπέδωκεν) ᾿Α θηνύδωρον κωμῳδόν, καὶ εὗρεν ἡ πάροδος 
δραχμήν. ἡ δὲ Oa ἐγένετο δωρεάν. Four other persons also furnished him 
for the exhibition this year. Insc. Iasos, Lebas-Wad. IIT, 255. In Lebas 
No. 257 his father’s name is given and provision was made for five perfor- 
mances by five contributors. 

14a. Alpos, comoedus apud Juv. 3. 97 (quoted under No. 34), ef. id. 6. 
198: dicas haeec mollius Haemo quamquam et Carpophoro. 

15. Αἰσχίνης ᾿Ατρομήτου Κοθωκίδης, ὑ. 7., the orator. Born ca. 390, died 
323 Β. c. On his political career see the manuals and Kirchner No, 354, 
on his career as an actor see esp. Schifer Dem. τι. sein. Zeit P, pp. 238 ff., 
and Volker, pp. 196 ff. After his clerkship and before taking up polities 
he was for a short time a tragic actor, Dem, 19. 200: μετὰ ταῦτα δὲ ταῖς 
ἀρχαῖς ὑπογραμματεύοντα, καὶ δυοῖν ἢ τριῶν δραχμῶν πονηρὸν ὄντα; τὰ τελευταῖα 
δ᾽ ἔναγχος ἐν χορηγίοις ἀλλοτρίοις ἐπὶ τῷ τριταγωνιστεῖν ἀγαπητῶς παρατρεφό- 
μένον; and 15. 265: ἐγραμμάτευες. ἐγὼ δ᾽ ἠκκλησίαζον. ἐτριταγωνίστεις. ἐγὼ 
δ᾽ ἐθεώρουν. ἐξέπιπτες. ἐγὼ δ᾽ ἐσύριττον. ὑπὲρ τῶν ἐχθρῶν πεπολίτευσαι πάντα, 
ἐγὼ & ὑπὲρ τῆς πατρίδος. Cic. De rep. 4. 11: et Aeschines Atheniensis vir 
eloquentissimus, quom adulescens tragoedias actitavisset, rempublicam 
capessivit, et Aristodemum, tragicum item actorem, maximis de rebus 
pacis et belli legatum ad Philippum Athenienses saepe miserunt—a pas- 
sage quoted also by Augustine De οἷν. dei ii. 11; Quint. ii. 17. 12: quo illud 
quoque excluditur, quod dicunt, non esse artis id, quod faciant qui non 
didicerint; dicere autem homines et qui non didicerint. ad cuius rei 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 75 


confirmationem afferunt, Demaden remigem et Aeschinen hypocriten 
oratores fuisse; Apollonius Vit. Aesch., p. 266. 18 West.: ἔπειτα ἀποστὰς 
τούτου τριταγωνιστὴς ἐγένετο τραγῳδιῶν. All this and everything else which 
we know about him as an actor is derived from Demosthenes himself, 
whose testimony is colored by extreme prejudice and ill-will. Yet even 
from this source we can safely infer that he was of a good personal 
appearance and possessed of a fine resonant voice: Dem. 18. 129: τὸν 
καλὸν ἀνδριάντα καὶ τριταγωνιστὴν ἄκρον ἐξέθρεψέ σε, 19. 337 (quoted below), 
19. 126: ὃ σοφὸς καὶ δεινὸς οὗτος καὶ εὔφωνος, 19. 199: αὐτίκα δὴ μάλ᾽ ἐρεῖ 
λαμπρᾷ τῇ φωνῇ, 19. 206: τίνα δὲ φθέγγεσθαι μέγιστον ἁπάντων καὶ σαφέστατ᾽ 
ἂν εἰπεῖν ὅ τι βούλοιτο τῇ φωνῇ; Αἰσχίνην οἶδ᾽ ὅτι τουτονί, 19. 216: μηδέ γ᾽ εἰ 
καλὸν καὶ μέγ᾽ οὗτος φθέγξεται, 18. 259: μὴ γὰρ οἴεσθ᾽ αὐτόν, φθέγγεσθαι μὲν 
οὕτω μέγα, ὀλολύζειν δ᾽ οὐχ ὑπέρλαμπρον, 18. 280: καί μοι δοκεῖς ἐκ τούτων, 
Αἰσχίνη, λόγων ἐπίδειξίν τινα καὶ φωνασκίας βουλόμενος ποιήσασθαι, 18. 285: καί: 
περ εὔφωνον ὄντα, 18. 291: ἐπάρας τὴν φωνὴν γεγηθὼς καὶ λαρυγγίζων, 18. 518: 
λαμπροφωνότατος, μνημονικώτατος, ὑποκριτὴς ἄριστος, τραγικὸς Θεοκρίνης. He 
must have been a young actor of exceptional promise, for he attracted the 
attention of two of the greatest actors of the time, Theodorus and Aristo- 
demus, was taken by them into their companies for important rdles in 
classic old plays, and, to judge from the list of the réles which he played, 
and the fact that Demosthenes was able to enumerate them, must have 
made a good impression in them. Dem. 19. 246: ταῦτα μὲν yap τὰ iap Bet’ 
ἐκ Φοίνικός ἐστιν Εὐριπίδου: τοῦτο δὲ TO Spay’ οὐδεπώποτ᾽ οὔτε Θεόδωρος οὔτ᾽ 
᾿Αριστόδημος ὑπεκρίναντο, οἷς οὗτος τὰ τρίτα λέγων διετέλεσεν, ἀλλὰ Μόλων 
ἠγωνίζετο καὶ εἰ δή τις ἄλλος τῶν παλαιῶν ὑποκριτῶν. ᾿Αντιγόνην δὲ Ξοφοκλέους 
πολλάκις μὲν Θεόδωρος, πολλάκις δ᾽ ᾿Αριστόδημος ὑποκέκριται, ἐν ἣ πεποιημέν᾽ 
ἰαμβεῖα καλῶς καὶ συμφερόντως ὑμῖν, πολλάκις αὐτὸς εἰρηκὼς καὶ ἀκριβῶς ἐξεπιστά- 
μενος παρέλιπεν. The τραγῳδοί who brought out old plays at the Dionysia 
at Athens of course chose their own assistants or συναγωνισταί; see above, 
p. 13. On the role of Creon in Sophocles’ Antigone see also 18. 180, 
quoted below. He also played the role of Thyestes in Euripides’ Kres- 
sai, and perhaps of Talthybius or Menelaus in the Troades, Dem. 19. 337: 
ἐμοὶ δὲ δοκεῖτ᾽ ἀτοπώτατον ἂν πάντων ποιῆσαι; εἰ OTE μὲν TA Θυέστου καὶ τῶν ἐπὶ 
Τροίᾳ κάκ᾽ ἠγωνίζετο, ἐξεβάλλετ᾽ αὐτὸν καὶ ἐξεσυρίττετ᾽ ἐκ τῶν θεάτρων καὶ μόνον 
οὐ κατελεύεθ᾽ οὕτως, ὥστε τελευτῶντα τοῦ τριταγωνιστεῖν ἀποστῆναι, ἐπειδὴ δ᾽ οὐκ 
ἐπὶ τῆς σκηνῆς, ἀλλ᾽ ἐν τοῖς κοινοῖς καὶ μεγίστοις τῆς πόλεως πράγμασι μυρί᾽ 
εἴργασται κακά, τηνικαῦθ᾽ ὡς καλὸν φθεγγομένῳ προσέχοιτε, the title-role in 
Euripides’ Kresphontes, Dem. 18. 180 (below), that of Polymestor in 
Euripides’ Hekabe and a part in an unidentified play, ibid. 267: καὶ σὺ 
τὰς ῥήσεις Us ἐλυμαίνου, “ἥκω νεκρῶν κευθμῶνα Kal σκότου πύλας᾽ καὶ * κακαγ- 
γελεῖν μὲν ἴσθι μὴ θέλοντά pe,’ καὶ ᾿ κακὸν κακῶς ce” μάλιστα μὲν οἱ θεοί, ἔπειθ᾽ 
οὗτοι πάντες ἀπολέσειαν, πονηρὸν ὄντα καὶ πολίτην καὶ τριταγωνιστήν, and finally 
the title-rédle in Euripides’ Oinomaos, Dem. 18. 180: σὲ δὲ μηδ᾽ ἥρω τὸν 
τυχόντα, ἀλλὰ τούτων τινὰ τῶν ἀπὸ τῆς σκηνῆς, Κρεσφόντην ἢ Kpéovta, ἢ ὃν ἐν 


76 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


Κολλυτῷ ποτ᾽ Οἰνόμαον κακῶς ἐπέτριψας; τότε τοίνυν ὁ Παιανεὺς ἐγὼ Βάτταλος 
Οἰνομάου τοῦ Κοθωκίδου σοῦ πλείονος ἄξιος ὧν ἐφάνην τῇ πατρίδι: σὺ μὲν γ᾽ 

ὑδὲν οὐδαμοῦ χρήσιμος ἦσθα. Further details of the accident which befell 
him as he was acting this part are furnished by Demochares apud Anon. 
Vit Aesch., p. 269. 26 West.: εἰ dpa πιστευτέον αὐτῷ λέγοντι περὶ Αἰσχίνου, 
φησὶν (i.e., Demochares) Ἰσχάνδρου τοῦ tpaywd| oro lod τριταγωνιστὴν γενέσθαι 
τὸν Αἰσχίνην καὶ ὑποκρινόμενον Οἰνόμαον διώκοντα Πέλοπα αἰσχρῶς πεσεῖν καὶ 
ἀναστῆναι ὑπὸ Lavviwvos τοῦ χοροδιδασκάλου (ἐνθένδ᾽ οὖν ὁ Δημοσθένης * Oive- 
μαον᾽ αὐτὸν ὀνομάζει. πρὸς εἰδότας τὸ πρᾶγμα ἐπισκώπτων), καὶ μετὰ Σωκράτους 
καὶ Σιμύλου τῶν κακῶν ὑποκριτῶν ἀλᾶσθαι κατ᾽ ἀγρούς: εἴη ἂν οὖν ἐνθένδ᾽ 
“ἀρουραῖος ᾽ λεγόμενος, cf. Apollonius Vit. Aesch., p. 266.19 West.: καὶ ἐν 
Κολλυτῷ ποτε Οἰνόμαον ὑποκρινόμενος κατέπεσεν. Demochares’ account is 
given an air of plausibility by the addition of the statement about San- 
nion, who is known from the oration against Meidias, but cannot be 
regarded as trustworthy in details. The statement about the connection 
of Aeschines with Ischandrus is clearly a misinterpretation of Dem. 19. 10: 
Aeschines the “tritagonist” is falsely associated as “tritagonist” with 
Ischandrus his “deuteragonist,” though Demosthenes simply means that 
Ischandrus was the “aider and abettor” of Aeschines; see under No. 264. 
And Ischandrus was not a poet but an actor. Harp. 5. Ἴσχανδρος is a 
jumble of Demochares: δοκεῖ δ᾽ αὐτῷ συνυποκρινόμενος Αἰσχίνης ὁ ῥήτωρ ἐν 
Κολλυτῷ καταπεσεῖν. The explanation of the epithet which Dem. 18, 242 
(αὐτοτραγικὸς πίθηκος, ἀρουραῖος Οἰνόμαος, παράσημος ῥήτωρ) applies to 
Aeschines is clearly that the accident happened at Collytus, i. e., κατ᾽ 
ἀγρούς. cf. Anon. Vit. above; and not because the actor was too poor an 
actor for competitions ἐν dora, Bekk. Anec., p. 211. 32: ἀρουραῖος δέ, ὅτι ἕν 
τοῖς δήμοις ἐπεδείκνυτο, ἀνάξιος ὧν τῶν ἐν ἄστει ἀγῶνων. That he did perform 
at the City Dionysia is proved by his association with Aristodemus and 
Theodorus coupled with the fact that “old plays” were apparently given 
only at the City Dionysia, and there from 386 8.0. on; see above, pp. 5 f., 
and cf, Vit. X. Orat. 8404, ἀναλαμβάνων ἐπὶ σχολῆς τὰς παλαιὰς τραγῳδίας. 
Aeschines seems to have taken part in minor exhibitions outside the city 
as a member of the company of Simylus and Socrates, two indifferent 
actor-managers whose names do not appear in tbe Athenian Victors’-lists, 
Dem. 18. 262: ἀλλὰ μισθώσας σαυτὸν τοῖς ᾿βαρυστόνοις᾽ ἐπικαλουμένοις ἐκείνοις 
ὑποκριταῖς Σιμύλῳ καὶ Σωκράτει, ἐτριταγωνίστεις, σῦκα καὶ βότρυς καὶ ἐλάας 
συλλέγων ὥσπερ ὀπωρώνης ἐκ τῶν ἀλλοτρίων χωρίων, πλείω λαμβάνων ἀπὸ τούτων 
ἢ τῶν ἀγώνων, οὺς ὑμεῖς περὶ τῆς ψυχῆς ἠἡγωνίζεσθε. Cf. also Demochares apud 
Vit. Aesch. (quoted above) and Philost. Vit. soph. 1.18.10: 6 μὲν Αἰσχίνης 
φιλοπότης τε ἐδόκει καὶ ἡδὺς καὶ ἀνειμένος καὶ πᾶν τὸ ἐπίχαρι ἐκ Διονύσου ἡρηκώς, 
καὶ γὰρ δὴ καὶ τοῖς ᾿βαρυστόνοις ᾿ ὑποκριταῖς τὸν ἐν μειρακίῳ χρόνον ὑπετραγῴ- 
δησεν. Schafer Dem. u. s. Zeit Τὸ, p. 249, calls attention to the fact that 
Demosthenes refers to Aeschines’ misfortune in the role of Oinomaos 
only in the speech On the Crown, and not in the earlier speeches. In the 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM ΤΥ 


oration On the Embassy he mocks at him as a subordinate of great 
actors and as one who only recently had resorted to this business to eke 
out a living. To this Aeschines 2.152 had merely resorted: τί πώποτε 
ἄσχημον ἕνεκα χρημάτων πράξας; Demosthenes had there attributed his 
abandonment of the profession of acting to his failure to please his 
audiences. But the bitter taunts of the oration On the Crown and the 
references there to Aeschines’ unhappy experiences at Collytus and in 
the country exhibitions with “the ranters,” though repeated and ampli- 
fied by Demochares and Philostratus, are too excessive and too evidently 
animated by hate to deserve full credence. Aeschines’ career as an actor 
was too brief for him to rise to the position of a τραγῳδός or protagonist. 
The réles he played were of considerable importance and not to be 
regarded as “third parts.” Demosthenes invented for his benefit the 
word “tritagonist,” which he employs with constant iteration as an oppro- 
brious epithet. Cf., 6. g., 18. 209: ἐμὲ δ᾽, ὦ τριταγωνιστά, τὸν περὶ τῶν πρω- 
τείων σύμβουλον τῇ πόλει παριόντα. and the passages quoted above. The 
word is applied to no other actor, and is used for the third actor in a 
company of three, such as were sent out in the period of the guilds, very 
rarely and in late writers. That it meant, not “actor of third réles,” but 
“third-rate actor” is shown by Bekk. Anec., p. 309. 31: τριταγωνιστής: ὃ 
Αἰσχίνης, ὡς ἀδοκιμώτατος TOV ὑποκριτῶν ἐν TH τρίτῃ τάξει καταριθμούμενος, and 
is demonstrated at length by Rees The So-called Rule of Three Actors, 
pp. 37 ff. (Chicago, 1908), which see for further references. Cf. the other 
epithets applied to him by Demosthenes and ὁ βάσκανος οὗτος ἰαμβοφάγος, 
18. 139. The statement of Juba apud schol. Dem. 19. 246, p. 418. 12 
Dind.: λέγει δὲ ὁ τὰς θεατρικὰς ἱστορίας συγγράψας διὰ τοῦτο τοῖς τριταγωνι- 
σταῖς τὰς ὑποκρίσεις τῶν δυναστευόντων παρέχεσθαι, ἐπειδὴ ἧττόν ἐστι παθητικὰ 
καὶ ὑπέρογκα. is a false generalization from the text of Demosthenes and 
is not supported either by other authorities or by the analysis of the 
extant tragedies. 

10. Αἰσχύλος, ὑ. τ.» victor at the Lenaea ca. 285 B. ο., IG. II 977 α΄ (s), 
W. p. 157; restored by Capps AJP. XX (1899), p. 402, n. 2, ibid. fr. 7’ (0), 
W. p. 159, belonging to the corresponding Dionysian list, [Αἰσχ]|ύλ[ος- ]. 

17. Αἴσωπος, v. r., assigned by schol. Arist. Vesp. 566 to the time of 
Aeschylus: Αἰσώπου τι γέλοιον: Αἴσωπος τραγῳδίας ἐγένετο ὑποκριτὴς γελοιώ- 
dys, -... Αἰσχύλου δ᾽ ἣν ὑποκριτής. The allusion in Aristophanes is 
clearly to the fabulist, and to this extent the scholiast is wrong. Whether 
there was an actor Aesopus who brought out plays for Aeschylus may be 
doubted; Volker, pp. 156 ff. There may be confusion due to the following: 

18. Αἴσωπος, tpaywdds, said to have given Cicero lessons in ὑπόκρισις, 
Plut. Vit. Οἷς. 5: τοῦτο μὲν Ρωσκίῳ τῷ κωμῳδῷ, τοῦτο δ᾽ Αἰσώπῳ τῷ τραγῳδῷ 
προσέχειν ἐπιμελῶς. Plutarch goes on to relate how he worked himself into 
a passion in the part of Atreus planning vengeance on Thyestes. For his 
life see P.-W. IV, col. 16. 


78 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


19. ᾿Ακέσιος ‘Pébtos, tpaywdds at the Dionysia at Delos in 279 B. c., 
BCH. VIT (1883), p. 108. 

20. ᾿Αλέξανδρος Δημητρίον ᾿Αθηναῖος, τραγῳδός at the Soteria at Delphi 
in 269 8. c., SGDI. 2566, 1.50. Identified with ᾿Αλέξανδί pos-} in IG. 11 977 
q(d’), ca. 276 B. c., by Wilhelm, p. 140; fr. q is rightly assigned to the 
Lenaean catalogue by Reisch Z5G. 1907, p. 306. He is mentioned first 
in his company at Delphi. Kirchner No. 495. 

21. ᾿Αλέξανδρος Μηνί-- Μάγνης) ἀπὸ Μαιάνδρου, as ὑ. παλαιᾶς κωμῳδίας 
victor at the Musaea at Thespiae 100-75 8. c., IG. VIT 1761, BCH. XTX 
(1895), No. 14, p. 340; also in the epinicium, ibid. The heading is lost, 
but may safely be restored. 

22. M. Αὐρ. ᾿Αλέξανδρος, τραγῳδὸς παράδοξος περιοδονείκης. imperial period. 
Paton and Hicks, Inser. Cos, No. 129, p. 152. P.-W. Suppl., p. 54. 

23. Tip. Κλανδ. ᾿Αλέξανδρος Λαοδικεύς, τραγῳδὸς καὶ ποιητὴς παράδοξος, 
νομοδίκτης of a guild of technitae, time of Caracalla. CIG. IV 6829, 1. 24 
provenance uncertain, but probably from Lebedos, headquarters of the 
Teian guild. 

24, ᾿Αλκίμαχος ᾿Αθ[ηναῖος IIA ]éa Σοφοκλέους καὶ ᾿Οδυσσέα μαινόμενον 
κ]αὶ Ἴβηρας καὶ σατυρικὸν Τήλεϊ pov ὑποκρινόμενος: ἐν ἱΡόδωι δευΐτερος ἦνῖ, Τὰ. 
XIT i 125, 1. 7, as restored by Kaibel; see Wilhelm, pp. 206, 160. Appar- 
ently the record of a tragic actor. The date is uncertain. Bethe Proleg., 
p. 246, suggests that the poet may be Sophocles, a known poet of the 
first century Β. συ; cf. Wilhelm, pp. 255 and 205. Kirchner No. 613. 

25. "Apeavias, ὑ. τι, once victor at the Lenaea ca. 365 B. ο., IG. IL 977 
t(o), W. p. 145. 

26. "Apixras .. . . νφραίου Ἱστιαιεύς, κωμῳδός at the Soteria at Delphi 
in 226 8. c. (or 225), SGDI. 2568. 

27. ᾿Αμφιχάρης, ὑ. κι. victor at the Lenaea ca. 347 8. c., 1G. IL 977 αὐ), 
W. p. 150 [᾿Αμ]φιχί apns—], Kohler. 

28. ᾿Ανάξιππος or Διώξιππος, comic didascalus, brought out a play for 
Anaxandrides as didascalus shortly after 349 B. c., IG. XTV 1098, 1. 9, 
Capps Classical Philology I (1906), p. 220. See Wilhelm Urk., p. 202. 

29, ᾿Ανδρόνικος, ὑ. τι. a lover of Gnathaena, who was born ea. 356-360, 
Machon apud Ath. 58lede: οὐκέτι θ᾽ ἑταιρεῖν ὑπομενούσης (Gnathaena) διὰ 
τό πὼς τὸν ᾿Ανδρόνικον ἡδέως αὐτῆς ἔχειν τὸν ὑποκριτήν. . . .. μετὰ ταῦτ᾽ 
ἀκούσας ᾿Ανδρόνικος τὸ γεγονός. ἐκ τῆς Κορίνθου προσφάτως ἀφιγμένος. . .. 
ταῦτ᾽ ἔλεγε τῇ Γναθαινίῳ, ete. Lynceus apud Ath. 584d; ᾿Ανδρονέκου δὲ τοῦ 
τραγῳδοῦ ἀπ᾽ ἀγῶνός τινος, ἐν ᾧ τοὺς ᾿Επιγόνους (ὑποκρινόμενος Meineke> 
εὐημερήκει, πίνειν μέλλοντος παρ᾽ αὐτῇ καὶ τοῦ παιδὸς κελεύοντος τὴν Γνάθαιναν 
προαναλῶσαι, ᾿ὀλόμενε παίδων," ἔφη. ᾿ ποῖον εἴρηκας λόγον. The Epigonoi was 
the play of either Aeschylus or Sophocles, brought out by Andronicus as 
matad. Reputed to have taught Demosthenes, Vit. X. Orat. 845a: 
συντυχὼν δ᾽ αὐτῷ Εὔνομος ὁ Θριάσιος πρεσβύτης ἤδη ὧν προετρέψατο τὸν Δημο- 
oben, μάλιστα δ᾽ ὁ ὑποκριτὴς ᾿Ανδρόνικος εἰπὼν ὡς οἱ μὲν λόγοι καλῶς ἔχοιεν, 








PROSOPOGRAPHIA HISTRIONUM GRAECORUM 79 


λείποι δ᾽ αὐτῷ τὰ THs ὑποκρίσεως, . . . . Kal δὲ πιστεύσαντα τὸν Δημοσθένη παρα- 
δοῦναι αὑτὸν τῷ ᾿Ανδρονίκῳ, Phot. Bibl., p. 4936 4 Bekk.: καὶ τότε πλέον 
᾿Ανδρόνικος ὃ ὑποκριτής, τοὺς μὲν λόγους εὖ ἔχειν καὶ ὡς ἄριστα φάμενος. ἐνδεῖν 
δὲ αὐτοῖς τὰ τῆς ὑποκρίσεως, ὃ δὲ παραδίδωσί τε ἑαυτὸν τῷ ᾿Ανδρονίκῳ, καὶ τὴν τῆς 
ὑποκρίσεως τέχνην ἐκεῖθεν ἐξήσκησε. Quint. 11.3.7: ideoque ipse tam dili- 
genter apud Andronicum hypocriten studuit, ut admirantibus eius ora- 
tionem Rhodiis non immerito Aeschines dixisse videatur: “quid si ipsum 
audissetis?” But Plut. Vit. Dem. 7 assigns to Satyrus about the same 
relation to Demosthenes’ training as these writers do to Andronicus. 
From the relations of Andronicus with Demosthenes (suit against his 
guardians in 363) and with Gnathaena, we may infer that he was born ca. 
400-390, was 50-60 when Gnathaena’s lover, and that his active career 
extended from ca. 380-370 to at least 340. His name does not appear in 
the Lenaean list of victors covering this period (st), but was probably in 
the lacuna in col. ii, of the City list (py). For the chronology of Gnathaena 
see Wagner Symb. ad com. Graec. hist. crit. (Leipzig, 1905), p. 22, Korte 
B. ph. W. 1906, p. 900, and Capps Classical Philology IT (1907), p. 479. 

30. ᾿Ανδροσθένης, v. T-, Once victor at the Lenaea ca. 360 8. ο., IG. IT 
977 t(o), W. p. 145. 

31. "AvBpev, ὑ. r., twice victor at the Dionysia ca. 438 Β. ο., IG. II 977 
ne), Wap. 91. 

32. ᾿Αντίλοχος, tpaywods at the Dionysia at Delos ca. 171 B.c., BCH. 
ΙΧ (1885), p. 147, [᾿Αντίλ] oxos. 

33. ᾿Αντιμένης, ὑ. 7., victor at the Lenaea ca. 306 8. o., IG. II 977 v(x), 
W. p. 145. 

94. ᾿Αντίοχος, comoedus apud Juvenal 3. 98: nec tamen Antiochus, 
nec erit mirabilis illic aut Stratocles aut cum molli Demetrius Haemo. 
Nothing more is known of him, but for the others see Nos. 14a, 130, 444. 

35. ᾿Αντιφάνης, ὑ. κι. played the Anasozomenos of an unknown poet at 
the Lenaea in 289 8. ο., IG. 11 972, W. p. 52 [Αντ]ιφάνης. 

36. ᾿Αντιφῶν, ὑ, τ., a Greek actor who brought out old plays at Rome in 
54 8.c., Cic. ad Att. 4.15. 6: redii Romam .... veni in spectaculum 
.... deinde Antiphonti operam. is erat ante manu missus quam pro- 
ductus. ne diutius pendeas, palmam tulit. sed nihil tam pusillum, nihil 
tam sine voce, nihil tam .... in Andromacha tamen maior fuit quam 
Astyanax; in ceteris parem habuit neminem. Cf. Tyrrell Ep., No. 143. 

37. ᾿Αντιφῶν ᾿Αθηναῖος, as ὗ. καινῆς κωμῳδίας victor at the Musaea at 
Thespiae, shortly before 161 a. p., IG. VII 1773, BCH. XIX (1895), No. 15, 
p. 341; also as ποιητὴς καινῆς κωμῳδίας. and as ποιητὴς προσοδίου On the same 
occasion. 

38. ᾿Απελλῆς ᾿Ασκαλωνίτης, τραγῳδός, first century 4. p. An intimate of 
the Emperor Gaius, Cassius Dio 59. 5. 2 (IIT, p. 648 Sturz): ἐδούλευε 
(i.e., Gaius) 8@ . .. . καὶ τοῖς ἄλλοις τοῖς περὶ τὴν σκηνὴν ἔχουσι. τὸν γοῦν 
᾿Απελλῆν, τὸν εὐδοκιμώτατον τῶν τότε τραγῳδῶν, καὶ ἐν τῷ δημοσίῳ συνόντα οἱ 


50 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


ἀεὶ εἶχε. Suetonius Calig. 38: inter varios iocos, cum assistens simulacro 
Iovis Apellen trogoedum consuluisset uter illi maior videretur, cunctan- 
tem flagellis discidit conlaudans subinde vocem deprecantis quasi etiam 
in gemitu praeduleem. Plocamus boasts in Petron. Cena 64: quid sal- 
tare? quid deverbia? quid tonstrinum? quando parem habui nisi 
unum Apelletem? Philo Iud. Leg. ad Gaium 30, p. 576, mentions him 
among the counselors of Gaius: καὶ ᾿Απελλῇ τινι, tpaywdd, ὃς ἀκμῇ μὲν τῆς 
πρώτης ἡλικίας, ὥς φασιν, ἐκαπήλευσε τὴν ὥραν: ἔξωρος δὲ γενόμενος ἐπὶ τὴν 
σκηνὴν παρῆλθεν. .... διὰ ταῦτα εἰς τὴν τοῦ συμβόλου τάξιν 6 ᾿Απελλῆς 
παρῆλθεν, ἵνα βουλεύσηται Γάιος, μεθ᾽ ob μέν. ὡς σκωπτέον, μεθ᾽ οὗ δὲ, ὡς ἀστέον 

. ὃ ᾿Απελλῆς δὲ τὸν ἀπὸ ᾿Ασκάλωνος (sc. ἰὸν εἰς Ιουδαίους ἤφιεν). It is 
probable that he lived to the time οἵ Vespasian, Suet. Vesp. 19: ludis 

. vetera quoque acroamata revocaverat. Apellari tragoedo quadrin- 
genta .... dedit, where Biicheler reads Apellae, Rohde in P.-W. pro- 
poses Apelli; but probably Apelleti is to be restored. 

39. ᾿Απολλᾶς Φενεάτης, κωμῳδός, accompanied by a single synagonist 
(No. 456), at the Soteria at Delphi ca. 140-100 8. c., SGDT. 2569. 15, Reisch 
De mus. cert., pp. 104 ff. 

40. ᾿Απολλογένης ᾿Ορθαγόρα ᾿Αρκάς, tpaywdds at the Soteria at Delphi 271 
B. 0., SGDI. 2564, 1.51. Capps TAPA. XXI (1900), pp. 186 ff., conjec- 
tures that he was the pugilist-actor whose remarkable record of victories 
has been found at Tegea in an inscription of the middle of the third 
century (Dittenberger, which, however, Herzog places near 200), BCH. 
XVIT (1893), p. 15, Ditt. Syl 700, of which Perdrizet gives an improved 
text in BCH. XXIV (1900), pp. 285 ff. Besides his victory as a boxer at 
the Ptolemaea at Alexandria, this person won at the Athenian Dionysia 
with Eur. Orestes; at the Argive Heraea with Eur. Herakles and Alex- 
andros (Herzog, Medeia Perdrizet); at the Delphic Soteria with Eur. 
Herakles and the Antaios (Dittenberger, Aristaios Perdrizet) of Arche- 
stratus; at the Dodonian Naia with Eur. Archelaos and the Achilles of 
Chaeremon; and 88 other victories at minor scenic contests. At the 
Soteria in 271 Apollogenes was the second in his company; accordingly, 
if the identification is correct the Soteric victories were won at a later 
time. The peculiar significance of the rdles chosen by this actor was first 
pointed out by Herzog Philol. LX (1901), pp. 440 ff.; ef. Rees So-called 
Rule of Three Actors (Chicago, 1908), p. 55. 

41, ᾿Απολλόδωρος, ὑ. κι, acted the second Pax of Aristophanes, Hyp. 
I Pac.: ὑπεκρίνατο ᾿Απολλόδωρος, ἐνίκα Ἕρμων ὁ ὑποκριτής (Rose, ἡνίκα ἑρμῆν 
λοιοκρότης MSS). Since the actors’ contest had not been established at 
the Dionysia at the production of the first Pax in 423 s.c., this fragment 
of a didasealic notice must refer to a performance of the second Pax at 
the Lenaea of a later date, as A. Korte Rhein. Mus. LIT (1897), p. 172, 
plausibly suggests. See above, p. 48, and under No, 183. Vdlker, 
pp. 118 ff. 








PROSOPOGRAPHIA HISTRIONUM GRAECORUM Sl 


42. ᾿Απολλόδωρος, κωμῳδός, ca. 180-150 8. c., Λέων Ἰάσονος χορηγήσας 
πρότερον (ἐπέδωκεν) ᾿Απολλόδωρον τὸν κωμῳδόν, καὶ ἣ πάροδος εὗρε δραχμήν. ἡ 
δὲ θέα ἐγένετο δωρεάν, inse. Iasos, Lebas-Wad. IIT 256. The name is to be 
restored, ibid., No. 257, Θεαίτητος MeXaviwvos χορηγήσας [᾿Απολλόδωρο]ν 
κωμῳδὸν ἡμέραν μίαν καὶ εὗρεν ἡ πάροδος, etc. See No. 532 a. 

43. ᾿Απολλόδωρος Νικάνορος, Athenian, κωμῳδός, participant in the 
scenic contest at Delphi 138-128 B.c. as representative of the Athenian 
guild of technitae, BCH. XXX (1906), No. 48, p. 273, 1. 26. Not in 
Kirchner. 

44. ᾿Απολλόδωρος Χρυσίππου, Athenian, tpaywdds, participant in the 
scenic contest at Delphi 138-128 Β. ο. as representative of the Athenian 
guild of technitae, BCH. XXX (1906), No. 48, p. 273, 1. 27. Not in 
Kirchner. 

45. ᾿Απολλωνίδης “Apxwvos, tragic synagonist, member of the guild of 
technitae at Ptolemais in the reign of Ptolemy Philadelphus, BCH. IX 
(1885), p. 134, Michel 1017, Ditt. Orient. Gr. Inse. 581. E. Miller, ibid., 
reports "A pdwvos, corrected by Wilhelm, p. 252. 

46. ᾿Απολλώνιος, κωμῳδός, Member of the guild of technitae at Ptole- 
mais in the reign of Ptolemy Philadelphus, BCH. IX (1885), p. 132, 
Michel 1017, Ditt. Orient. Gr. Inser. 51. 

47. ᾿Απολλώνιος, κωμῳδός, member of the guild of technitae at Ptole- 
mais in the reign of Ptolemy Philadelphus, BCH, IX (1885), p. 132, 
Michel 1017, Ditt. Orient. Gr. Inser. 51. 

48. Απολλώνιος ᾿Απολλωνίου, ὑ. 7., victor at the Romaea at Magnesia 
ca, middle second century B. ¢., acting the Hermione of Theodorus in the 
contest of new plays. Kern Inschr. v. Magn. 88 a. 

49. ᾿Απολλώνιος ᾿Απολλωνίου ᾿Ασπένδιος, aS τραγῳδὸς παλαιᾶς τραγῳδίας 
victor at the Musaea αὖ Thespiae, shortly before 161 a.p., IG. VII 1773, 
BCH. XIX (1895), No. 15, p. 341. Cf. above, p. 71. 

50. T. AltA. Αὐρήλ. ᾿Απολλώνιος Ταρσεὺς καὶ ᾿Αθηναῖος, κωμῳδὸς Kal κῆρυξ 
περιοδονείκης, σὺν Καπιτωλίοις νεικήσας τὸν ἀγῶνα τῶν ᾿Ὀλυμπείων ἀνέστησα 
τὸν ἀνδριάντα, IG. III 120, found in the theater of Dionysus, time of 
Antoninus Pius. Not in Kirchner. 

51. ᾿Αραρῶς ᾿Αριστοφάνους Κυδαθηναιεύς, comic didascalus for his father 
in the production of the Kokalos and Aiolosikon, after 388 8. c., Hyp. 
Plut.; perhaps also the Ploutos in 388, Vit. Arist. But it is probable that 
he brought out the first two plays as his own. On this question see 
Capps AJP. XXVIII (1907), pp. 192, 198. Kirchner No. 1575. 

52. ᾽Αρι-, v. τ.» Victor at the Lenaea ca. 318 B.c., IG. II 977 u(z). Wil- 
helm, p. 145, plausibly suggests "Api oroxpuros |, who acted in Susa before 
Alexander in 324 B.c. 

53. ᾿Αρίμνηστος, ὕ. 7., victor at the Lenaea ca. 284 8. c., IG. II 977 d(s), 
W. p. 157. 


82 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


D4. ᾿Αρι[στ-, i. τ΄», victor at the Dionysia ca. 380 8. c., IG. II 977 ple’), 
W. p. 137. The date precludes "Api oréxpiros —] No. 65, suggested by 
Wilhelm, p. 188. On "Api orddnpos - | see under No. 62. 

55. ᾽Αριστ-, b. 7., victor at the Lenaea ca. 278 B.c., IG. II 977 d(s), W. 
p. 157. Restore [᾿Α]ρίσί rapyos —], No. 57. 

56. ᾿Αρισταγόρας, ὑ. κ΄. once victor at the Lenaea ca. 315 Βι ας IG. 11 977 
y(u), W.p. 153. "Apurrayop jas- is probably to be restored in the City list g, 
W. p. 160 ca. 319 B. c., as suggested by Capps AJP. XX (1899), p. 404, n. 3. 

57. ᾿Αρίσταρχος, τραγῳδός at the Dionysia at Delos in 2808.c., BCH. 
VII (1883), p. 107. To be identified with the Lenaean victor of ca. 278 
B.C.,{’A Ἰρίσί rapxos-], No.55. Kaibel Urk., p. 189, n., proposed to identify 
with [ὁ δεῖνα .. ᾿Αριστ]άρχου τοῦ [᾿Αρ]ιστοδήμοϊυ rod... .jov μαθητὶ ἧς} in 
IG. XII i 125; but see Wilhelm, p. 206: “doch ist nicht einmal der 
Name sicher.” 

5S. ᾿Αριστίας IIparivov duets, tragic didascalus as wellas poet, brought 
out the satyr-drama Palaistai of his father with his own trilogy of trage- 
dies in 467 Β. c., Hyp. Aesch. Sept. 

59. ᾿Αρίστιππος Καλλικράτου Μιλήσιος, τραγῳδός at the Soteria at Delphi 
in 272 and 271 B.c., SGDI. 2563, 1. 44, 2564, 1. 47. 

60. ᾿Αριστίων, ὑ. 7., once victor at the Lenaea ca. 349 B.c., IG. II 977 
fo), W. p. 145 [᾿Αριστ]ίων 1. 

61. ᾿Αριστίων, ὑ. κι, twice victor at the Dionysia ca. 286 B. c., IG. II 977 
U’c’ (fw), W. p. 156. 

62. ᾿Αριστόδημος Μεταποντῖνος (καὶ ᾿Αθηναῖος 7). i. τ΄. floruit ca. middle of 
the fourth century. From Metapontum in Sicily, schol. Aesch. 2.15: οὗτος 
ἐπεκαλεῖτο μὲν ‘Sreuptduos,’ Μεταποντῖνος δ᾽ ἦν τὸ γένος. καὶ ἐνίκα dis ἐπὶ Anvatw. 
(Ληναίων MSS, corrected by Madvig Kl. Schr., p. 443, ef. A. Korte Rhein. 
Mus. LIT, 1897, p. 169, n. 2), he was probably made an Athenian citizen, 
since he was sent on the embassy to Philip; so Schafer Dem. I’, pp. 244 Εἰς, 
Volker, p. 208, and Judeich in P.-W.s, Aristodemos (not in Kirchner, 
however). The statement concerning his victories at the Lenaea must 
have been based on Aristotle’s Nixac or on the transcript of it IG. Τ| 977; 
for in frag. su, W. p. 145, we find "Apirrdd| nuos| IT, the position implying 
ca, 385 for his first victory. Wilhelm, p. 139, is inclined to infer from 
schol. Aesch, 2. 15 that Aristodemus was not victorious at the City Diony- 
sia; but the possibility must be considered that the notice is incomplete 
in its present form, and that it originally read καὶ ἐνίκα [-xis ἐν ἄστει καὶ] dis 
ἐπὶ Anvaiw. Further, in the Dionysian Victors’-list, IG. II 977 ple), W. 
p. 137, in a position implying a date ca. 380 8. οὶ for the first victory, we find 
*Ape-, Which Kaibel Urk., p. 189, would restore "Apd στόδημος —]}, following 
Capps AJP. XX (1899), p. 408. The date is not against this restoration. 
The reputation of Aristodemus must have been established before he 
was invited to the court of Philip (after 359 8. c.), and at the time of the 
embassy he need not have been much over sixty, The beginning of his 








PROSOPOGRAPHIA HISTRIONUM GRAECORUM 83 


relations with Philip are given in Hyp. II Dem. 19.2: ᾿Αριστόδημος δὲ καὶ 
Νεοπτόλεμος ὑποκριταὶ τραγῳδίας ἐτύγχανον: οὗτοι διὰ τὴν οἰκείαν τέχνην ἄδειαν 
εἶχον ἀπίεναι ὅποι ἂν βούλωνται, ἀλλὰ δὴ καὶ πρὸς πολεμίους. ἀπελθόντες οὖν 
τ > Ν ’ > 4 ἈΝ > ’, , \ “ / 
οὗτοι εἰς τὴν Μακεδονίαν ἐπεδείξαντο τὴν οἰκείαν τέχνην; Kal οὕτω φιλοφρόνως 
> ‘ 29 ἡ / LA Ν tal 4 ΄ απο > lal > 1) 
αὐτοὺς ἐδέξατο Φίλιππος. ὥστε πρὸς τοῖς ἄλλοις χρήμασι Kal ἄλλα ἐκ TOV οἰκείων 
παρεῖχεν αὐτοῖς. Cic. De rep, 4.9 (quoted under No. 15) speaks of the 
influential political position of Aristodemus the actor. Cf. Dem. 5. 6 
concerning Neoptolemus, The occasion of the first mission of Aristode- 
mus to Philip is related by Aeschines 2. 15: After the capture of 
Olynthus, in order to gain the release of the Athenian captives, πέμπουσι 
Ν 3 / Ν ε \ N / ἊΣ Ν lol Ν 
πρεσβευτὴν ᾿Αριστόδημον τὸν ὑποκριτὴν πρὸς Φίλιππον, διὰ τὴν γνῶσιν καὶ 
φιλανθρωπίαν τῆς τέχνης ; Succeeding in his mission, he angered the 
Athenians by failing to report promptly, but when he was summoned 
and returned, Demosthenes moved a crown for him, because he gave 
assurances of the good will of Philip toward the Athenians. He had 
evidently been sent in the hope of securing peace with Philip, Dem. 18. 
21: οὐδέν ἐστι δήπου πρὸς ἐμέ, GAN ὃ μὲν πρῶτος εἰπὼν καὶ μνησθεὶς ὑπὲρ τῆς 
εἰρήνης Ἀριστόδημος ἣν ὃ ὑποκριτής. Soon after he was sent with nine 
others, including Aeschines, to arrange the terms of peace, Hyp. Dem. ii. 
19.4. In order that Aristodemus might take part in the embassy with- 
out financial loss through the breaking of professional engagements, 
Demosthenes moved a special measure, Aesch. 2. 19: ἐν τῇ βουλῇ γράφει, 
9 ϑῳ 7 BN CAN Qo ΄ ΄ εχ’ ΄ SEN Ν 
ἵνα ἀζήμιος ὧν ἡμῖν ὃ ᾿Αριστόδημος συμπρεσβεύῃ, ἑλέσθαι πρέσβεις ἐπὶ τὰς 
πόλεις, ἐν αἷς ἔδει τὸν ᾿Αριστόδημον ἀγωνίζεσθαι, οἵτινες ὑπὲρ αὐτοῦ παραιτή- 
σονται τὰς ζημίας. Cf. schol. ad loc.: θέλει δὲ εἰπεῖν ὅτι ἀρραβῶνας ἣν δεξά- 
μενος ὃ ᾿Αριστόδημος ἀπό τινων πόλεων πρὸς τὸ ἀγωνίσασθαι ἐν αὐταῖς - ἣν yap 
΄ AN) SN Ἃ 3 ’, Ἃ A Ν 3 an ~ 
Tpaywoos, καὶ ἔδει αὐτὸν ἢ ἀγωνίσασθαι ἢ διπλοῦν τὸν ἀρραβῶνα καταβαλεῖν. 
» a / lol / Ν ΄ Ν᾽ A Ν > lal ΄ 
ἔδει οὖν πρέσβεων τῶν πεισόντων τὰς πόλεις μὴ διπλοῦν τὸν ἀρραβῶνα κομίσασθαι 
ἀλλ’ ἁπλοῦν, and Plut. Vit. Alex. 29 (under No. 13); ef. also No. 155. 
After the peace of Philocrates was concluded, Demosthenes accused 
Aristodemus of having unduly favored Philip, Dem. 18. 21 and 19. 18: 
NS / > \ “ , 3 , 5 ΄,΄ e < “ Nien ΄ 
καὶ ἀνηριθμησάμην ἀπὸ τῶν πρώτων ἐλπίδων ἐκείνων, ὧν ὃ Κτησιφῶν καὶ 6 ᾿Αριστό- 
δημος ἀπήγγειλαν πρὸς ὑμᾶς, 19. 12: ἐπείσθητε ὑπ᾽ ᾿Αριστοδήμου καὶ Νεοπτολέ- 
μου καὶ Κτησιφῶντος καὶ τῶν ἄλλων τῶν ἐκεῖθεν ἀπαγγελλόντων οὐδ᾽ ὁτιοῦν 
ε / lal Ne) , Ν 4 ΕΣ A 
ὑγιές. Cf. 19.94: Κτησιφῶν καὶ ᾿Αριστόδημος τὴν πρώτην ἔφερον τοῦ φενα- 
κισμοῦ, and 19. 315: τοὺς τὰ φιλάνθρωπα λέγοντας ἐκείνους ἀπέστειλ᾽ ὑπὲρ 
αὑτοῦ, τὸν Νεοπτόλεμον, τὸν ᾿Αριστόδημον, τὸν Κτησιφῶντα. The literary 
notices about Aristodemus as an actor are confined almost wholly to 
Demosthenes and notices dependent upon Demosthenes, and to Lucian, 
who uses him as a typical actor of the classical period along with Polus. 
Aeschines was taken into his company for the performance of old 
plays, among which was Sophocles’ Antigone, Dem. 19. 246 (quoted 
under No. 15) and Vit. X. Orat. 840a: τριταγωνιστῶν ᾿Αριστοδήμῳ ἐν 
τοῖς Διονυσίοις διετέλει. Nothing further about his réles is known; but 


54 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


that he was prominent in the production of old plays may be inferred 
from Lue. Apol. 5: ἀλλ᾽ of μὲν τοῖς τραγικοῖς ὑποκριταῖς εἰκάσουσιν. οἱ ἐπὶ 
μὲν τῆς σκηνῆς Αγαμέμνων ἕκαστος αὐτῶν ἢ Κρέων ἢ αὐτὸς Ἡρακλῆς εἰσιν, ἔξω 
δὲ Πῶλος ἢ ᾿Αριστόδημος ἀποθέμενοι τὰ προσωπεῖα γίγνονται ὑπόμισθοι τραγῳ- 
δοῦντες, ἐκπίπτοντες καὶ συριττόμενοι. ἐνίοτε δὲ καὶ μαστιγούμενοί τινες αὐτῶν, 
ὡς ἂν τῷ θεάτρῳ δοκῇ. Elsewhere Lucian mentions him with other famous 
actors of the classical period, Jup. trag. 3: ἐφ᾽ ὅτῳ Πῶλος ἢ ᾿Αριστόδημος 
ἀντὶ Διὸς ἡμῖν ἀναπέφηνας, and 41: ἀνάγκη δυοῖν θάτερον ἤτοι ΠΠῶλον καὶ 
᾿Αριστόδημον καὶ Σάτυρον ἡγεῖσθαί σε θεοὺς εἶναι τότε ἢ τὰ πρόσωπα τῶν θεῶν 
αὐτὰ καὶ τοὺς ἐμβάτας καὶ τοὺς ποδήρεις χιτῶνας καὶ χλαμύδας καὶ χειρίδας καὶ 
προγαστρίδια καὶ σωμάτια καὶ τἄλλα. οἷς ἐκεῖνοι σεμνύνουσι τὴν τραγῳδίαν, ὅπερ 
γελοιότατον οἶμαι. The statement of schol. ad loc., ὑποκρίνοντο οὖν (i. 6.. 
Polus and Aristodemus) ἐν ταῖς τραγῳδίαις καὶ ταῖς κωμῳδίαις καὶ θεούς, is 
worthless. Critolaus apud Aul. Gell. 11. 9. 2 tells a story which illus- 
trates his professional reputation: cum interogasset (i. e., Demosthe- 
nes) Aristodemum actorem fabularum, quantum mercedis uti ageret 
accepisset, et Aristodemus “talentum”’ respondisset, “at ego plus,” 
inquit, “accepi ut tacerem.” But the same story is told of Polus by 
Vit. X. Orat. 848 ὃ (under No. 421) and of Demades and an unknown 
“Graecus tragoedus” by C. Gracchus apud Aul. Gell. 11. 10.6. Of the 
nickname “Stemphylius” no explanation has been offered; but Wilhelm, 
p. 189, n. 3, suggests that the actor Stemphfylius-] (No. 443), ca. 310 
B.0., Was a descendant; very doubtful. On Aristodemus in general see 
Judeich in P.-W., Schafer Dem. τι. seine Zeit. I’, pp. 244 ff., and IP, 
pp. 193 ff.; Vélker, pp. 203 ff. 

63. ᾿Αριστοκράτης, ὑ. κι, Once victor at the Lenaea ca. 285 Β. c., IG. IT 
977 2(v), W. p. 153. 

64. ᾿Αριστοκράτης Σωτίωνος ᾿Ακαρνάν, τραγῳδός at the Soteria at Delphi 
in 270 5. c., 56 1. 2565, 1. 54; father or son of Σωτίων ᾿Ακαρνάν, tpaywdds 
at Delos in 259 8. c. (No. 457), Reisch De mus. cert., p. 97. 

65. ᾿Αριστόκριτος, tpaywods, present with Alexander at Susa in 324 B. c., 
Chares apud Ath. 538 f (quoted under No. 13). Probably to be restored, 
with Wilhelm, in the Lenaean Victors’-list IG. II 977 t(o), W. p. 145: 
᾿Αρι[στόκριτος-}, ca. 320 B.c. See No. 52. Volker, p. 211, suggests, but 
as doubtful, that he may be the person whom Pixodarus, satrap of Caria, 
sent as ambassador to Philip ca. 338 8. c., Plut. Vit. Alex. 10 (quoted 
under No. 239); highly improbable. 

66. ᾿Αριστόμαχος, ὑ. κι. thrice victor at the Lenaea ca. 292 5. c., IG. II 
977 yoo, W. p. 153. [’Aperrdopa}ylos-] was restored by Kohler in the cor- 
responding City list, ca. 292 Β. c., IG. ΠῚ 977 δ, W. p. 156. In IG. II 
972, W. p. 52, we have a record of his appearance at the Lenaea in 289 
and 288 B. ον: -στίδι (poet unknown), | bre: ᾿Αριστόμ]αχος (289 B. 0.); Σέύμυλος 
["Eqe|oiw, bre: "Apurropayos, Διόδωρος dev: Νέκρῳ, tre: "Apurrouayos (288 B. 0). 
For the dates see Capps AJA. TV (1900), p. 14. Possibly the father of 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 85 


Philonides 5. Aristomachus of Zacynthus, No. 495, cf. Capps AJA. IV, 
p. 81, and Wilhelm, p. 152. 

67. ᾿Αριστομένης, twice victorious, IG. II 977 ma’), W. p. 164, assigned 
to the list of comic actors by Reisch Z6G (1907), p. 306, middle of the 
third century B.c. Identification and date uncertain. 

68. ᾿Αριστομένης, ὗ. «., second century A. v., Ath. 115 ὃ. ὑποκριτὴς δὲ ἣν 
ἀρχαίας κωμῳδίας ἀπελεύθερος τοῦ μουσικωτάτου βασιλέως Adpuavod, καλούμενος 
ὑπ᾽ αὐτοῦ “᾿Αττικοπέρδιξ.᾽ 

69. [᾿Αρ]ιστομήδ[ης Θηβ»Ῥ]αῖος ἐν Ῥόδ' οἱ πρὸς Κλέαϊ]νδρονί 3) ἀντηγωϊ νί]- 
lero ἐν] Ῥόδωι νεμηθείς Καμειρίδι φί υλῆι μετὰ Κὶ ἰλεάνδρου καὶ ἐϊ πὶ] Ληναί- 
[ωεῇ ἐνίκα ---- ΑἰχμαΪλωτί (dla ὑποκρινόμενος, 1. 12, Op|— — —]kAnow Mop- 
pol ds ἐνίκα ὑπεΪκρίνετο Apio| τομήδης -}, IG. XII i 125 as restored by Kai- 
bel and Hiller v. Gartringen. Apparently the record of the victories of a 
tragic actor at Rhodes and at Athens. See Wilhelm, pp. 205,160. Inter- 
pretation and date uncertain. See No. 24. 

70. ᾿Αριστόνικος, v. T., Victor at the Lenaea ca. 298 Β. c., IG. 11 977 w(b’), 
W. p. 145. 

70a. ᾿Αριστοφάνης Φιλίππου Κυδαθηναιεύς, the comic poet, is said by 
schol. Eq. 230 to have played the part of Creon in the Knights; but this 
is doubtless a false inference from the text. 

71. ᾿Αριστοφάνης Σολεύς, κωμῳδός at the Dionysia at Delos in 279 B. c., 
BCH. VII (1883), p. 108. 

72. ᾿Αριστοφῶν, ὑ. r., once victor at the Lenaea ca. 335 B. c., LG. IL 977 
u(z), W. p. 145, *Ap{urrod ῶν. 

73. "Αριστυς ᾿Αριστομένεος Αἰγιεύς, actor (7) at the Soteria at Delphi ca. 
155 B. c., BCH. XVIII (1894), p. 77, SGDI. 2725: ἐπειδὴ "Apiorus ᾽Αριστο- 
μένεος Αἰγιεὺς ἐπέδωκε τῶι θεῶι ἁμέραν καὶ] aywvigato καὶ εὐδοκίμησε. SO 
Preuner Delph. Weihgeschenk, p. 70. Couve ἐπέδωκεν αὐτὸς αὐτὸν καὶ 
συν]αγωνίξατο. Baunack ἐπεί δάμησε εἰς τὰν πόλιν καὶ συν] αγωνίξατο. 

14. ᾿Αρίστων, ὕ. κι, one of the actors at Alexander’s marriage festival 
at Susa in 324 B.c., Chares apud Ath. 539a, quoted under No. 13. 

75. ᾿Αρίστων Συρακόσιος, v. τ., latter part of third century ps. c., Livy 
xxiv. 24: Aristoni cuidam tragico actori . ... huic et genus et fortuna 
honesta erant, nec ars, quia nihil tale apud Graecos pudori est, ea deforma- 
bat. Brought before the Syracusan authorities the proposals made to 
him by Andranodorus and Themistius in 214 8.c. May have performed 
at Athens; see No. 77. 

76. ᾿Αρίστων Ζήνωνος, Athenian, tragic hypodidascalus, ambassador to 
the Amphictyonic Council on behalf of the Dionysiac artists 130/29 B.c, 
IG. II 551, 11]. 48, 73, Michel 1009. Another copy BCH. XXIV (1900), 
p. 82. For the date see Ferguson Priests of Asklepios. 

11. ᾿Αρίστων, v. τ.. once victor at the Lenaea ca. 225 8. c., IG. II 977 
q(d@’), assigned to the Lenaean tragic actors by Reisch Z6G. (1907), p. 306. 


86 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


Identified by Wilhelm, p. 141, with the tragic actor mentioned by Livy, 
see No. 75; very doubtful. 

78. ᾿Αρίστων ᾿Ιάσονος, as ὑ. καινῆς τραγῳδίας victor at the Musaea at 
Thespiae ca. 100-75 5. c., IG. VII 1761, BCH. XTX (1895), No. 14, p. 340. 

79. ᾿Αρκεσίλαος Ἱέρωνος Κορίνθιος, tragic didascalus at the Soteria at 
Delphi in 270 8. c., SGDI. 2565, 1.56. The name is probably to be re- 
stored in IG. 11 977 q(d’), W. p. 141 (Lenaea, ca. 263 B. ο.), [᾿Αρκεσίλα]ος I; 
see No. 536, 

80. “Αρμόξενος Θεοτιμίδου Ἱστιαιεύς, τραγῳδός at the Soteria at Delphi in 
272 5. c., SGDI. 2563, 1. 37. He is mentioned first in his company. 

51, ᾿Αρτεμίδωρος ᾿Αρτεμιδώρον rod Διοσκουρίδου, ὑ. r., victor at the Romaea 
at Magnesia ca. beginning of first century B. c., acting the Klytaimestra 
of Polemaeus in the contest of new plays, Kern Inschr. vy. Magn. 88 e. 

82. ᾿Αρτεμίδωρος, κωμῳδός, probably second century a. D. (Σ μυρναῖος 1), 
ridiculed by Strato of Sardis in Anth. Pal. 12. 193: οὐδὲ Σμυρναῖαι Νεμέ- 
σεις ὅτι σῖγα λέγουσιν, | "Apreuldwpe, νοεῖς, | ᾿ μηδὲν ὑπὲρ τὸ μέτρον; ἀλλ᾽ 
οὕτως ὑπέροπτα καὶ ἄγρια κοὐδὲ πρέποντα | κωμῳδῷ. φθέγγῃ πάνθ᾽ ὑποκρινόμενος. 
μνησθήσῃ τούτων, ὑπερήφανε, καὶ σὺ φιλήσεις, | καὶ κωμῳδήσεις τὴν *’Aro- 
κλειομένην The play of Poseidippus is probably referred to; cf. No. 490. 

83. M. Αὐφίδιος "ApreplSwpos Κορίνθιος, as τραγῳδός victor at the Musaea 
at Thespiae, first half of third century a. ν., IG. VII 1776, BCH. XIX 
(1895), No. 18, p. 345. 

84. ᾿Αρτέμων, apparently ὑ. τι, mentioned in an Attic inscription pub- 
lished by Wilhelm Urk., p. 230: ὑπ)οκριταί ---᾿ΑἸρτέμων --- αθενεν 
Χρυσίππω --- ἐνίκα, and identified by him as belonging to IG. II 1356, 
tp ἰαγωιδῶν ὑποκριτί ὧν. 

85. ᾿Αρτέμων Διοδώρον, κωμῳδός, victor at the Soteria at Delphi end of 
third century Β. c., BCH. XXVI (1902), p. 267, Wilhelm Urk., p. 230. 

86. ᾿Αρχέλαος, tpaywdds, placed by Lucian De conscrib. hist. 1. in the 
reign of Lysimachus (306-281): ὁ τραγῳδός, εὐδοκιμῶν τότε... . τραγῳδήσας 
αὐτοῖς τὴν ᾿Ανδρομέδαν. The people of Abdera were affected by a strange 
fever, which so turned their minds that they all took to shouting the lines 
of tragedies, especially the Andromeda: καὶ μεστὴ ἦν ἡ πόλις ὠχρῶν ἅπάν- 
τῶν καὶ λεπτῶν τῶν ἑβδομαίων ἐκείνων τραγῳδῶν. The cause of this affection, 
Lucian surmises, was Archelaus, for having in the heat of midsummer 





τραγῳδήσας αὐτοῖς τὴν ᾿Ανδρομέδαν. 

87. ᾿Αρχίας Θούριος, ὑ. τ., the captor of Demosthenes in 322 B. ο. and 
for his part in the prosecution of the Athenian patriots in the service of 
Antipater called Φυγαδοθήρας. Before his political activity he was for a time 
a tragic actor: Vit. X. orat. 549} ὑπ᾽ ᾿Αρχίου rod Φυγαδοθήρου ἐπικληθέντος, 
Θουρίου μὲν τὸ γένος ὑποκριτοῦ δὲ τὰ πρῶτα τότε δὲ τῷ ᾿Αντιπάτρῳ βοηθοῦντος. 
ἐλήφθη (i. e., Hypereides). The time of his activity as an actor is fixed 
by the Lenaean Victors’-list IG, ΠῚ 977 u(z), W. p. 145, ca. 829 B. c., "Apyxias-, 
whom Wilhelm rightly identifies. The account of his capture of Demos- 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 87 


thenes is related by several: Vit. X. orat. 846}, Plut. Vit. Dem. 28: 
ὧν ἡγεμὼν ἦν Apxias ὃ κληθεὶς ‘puyadoOypas.’ τοῦτον δὲ Θούριον ὄντα τῷ γένει 
λόγος ἔχει τραγῳδίας ὑποκρίνεσθαί ποτε, καὶ τὸν Αἰγινήτην Πῶλον τὸν ὑπερ- 
βαλόντα τῇ τέχνῃ πάντας ἐκείνου γεγονέναι μαθητὴν ἱστοροῦσιν. Ἕρμιππος δὲ 
τὸν ᾿Αρχίαν ἐν τοῖς Λακρίτου τοῦ ῥήτορος μαθηταῖς ἀναγράφει: Δημήτριος δὲ τῆς 
᾿Αναξιμένους διατριβῆς μετεσχηκέναι φησὶν αὐτόν. οὗτος οὖν ὃ ᾿Αρχίας Ὑπερείδην 
μὲν τὸν ῥήτορα καὶ ᾿Αριστόνικον τὸν Μαραθώνιον καὶ τὸν Δημητρίου τοῦ Φαληρέως 
ἀδελφὸν Ἵμεραῖον ἐν Αἰγίνῃ καταφυγόντας ἐπὶ τὸ Αἰάκειον ἀποσπάσας ἔπεμψεν εἰς 
Κλεωνὰς πρὸς ᾿Αντίπατρον: κἀκεῖ διεφθάρησαν, Ὑπερείδου δὲ καὶ τὴν γλῶτταν 
ἐκτμηθῆναι λέγουσι. Ibid. 29: ἐδόκει (i. e., to Demosthenes) γὰρ ἀνταγωνίζεσθαι 
τῷ ᾿Αρχίᾳ τραγῳδίαν ὑποκρινόμενος, εὐημερῶν δὲ καὶ κατέχων τὸ θέατρον ἐνδείᾳ 
παρασκευῆς καὶ χορηγίας κρατεῖσθαι. διὸ τοῦ ᾿Αρχίου πολλὰ φιλάνθρωπα διαλεχ- 
θέντος ἀναβλέψας πρὸς αὐτόν, ὥσπερ ἐτύγχανε καθήμενος, “ὦ ᾿Αρχία,᾽ εἶπεν “ οὔτε 
ὑποκρινόμενός ME ἐπείσας πώποτε οὔτε νῦν πείσεις ἐπαγγελλόμενος . . .. καὶ δια- 
βλέψας πρὸς τὸν ᾿Αρχίαν “οὐκ ἂν φθάνοις. εἶπεν, “ἤδη τὸν ἐκ τῆς τραγῳδίας ὑὕποκρι- 
νόμενος Κρέοντα καὶ τὸ σῶμα τοῦτο ῥίπτων ἄταφον, Strabo 8. 514, Paus. 1. 8. 8: 
᾿Αρχίας οὗτος Θούριος ὧν ἔργον ἤρατο ἀνόσιον, etc. Luc. Enc. Dem. 28 ff. gives 
an imaginary conversation between Archias and Antipater. On his rela- 
tions with Polus see under No. 421. Schafer Dem. τι. seine Zeit III, 
pp. 392 ff. 

88. ’Apx tas [ ] Αἰγινήτης, τραγῳδός at the Soteria at Delphi in 269 
B. 6.. SGDI. 2566, 1. 56. 

89. ’A[o-, ¥. τ., victor at the Dionysia ca. 387 8. c., IG. II 977 p(e’), 
Wane 191. 

90. ᾿Ασκλαπιόδωρος ἸΠουθέαο Tapavrivos, τραγαρυδός, victor at the Chari- 
tesia at Orchomenus 100-75 Β. c., IG. VII 3195; for the date Reisch De 
mus. cert., p. 115, η. 2. Cf. the spurious inscription from Corcyra Δάματρος 
Πουθέαο τραγαρυδῶ, Rhein. Mus. X VITT (1863), p. 549, and CIG. 1583. 

91. ᾿Ασκλάπων ᾿Απολλοδώρου Μεγαρεύς, τραγῳδός at the Soteria at Delphi 
in 270 B. o., SGDI. 2565, |. 50. 

92. ᾿Ασκληπιάδης Ἡρακλείδου Χαλκιδεύς, σατύρων v., acted the satyr- 
drama Persai of the poet Anaxion of Mytilene, insc. Teos, Lebas-Wad. 
III. 91. Date uncertain. 

93. ᾿Ασκληπιόδωρος, v. x., Victor at the Dionysia in 311 B.c., Τα. II 974 ο, 
W. p. 45: [ὕπο : “AckAnmidwpo|s ἐνίκ[α], restored by Wilhelm, acting the 
Apoleipousa of Ameinias; competed also in 312 B.c., ibid. 1. 1: [ὑπε: 
᾿Ασκληπιόδ]ωροϊς. The victory of 311 was one of his earliest victories. 
Five times victor at the Lenaea ca. 310 B.c., IG. II 977y(u), W. p. 153. 
He won six (or seven) City victories if  Ασκληπιόδω ρος Π|- is to be restored 
in g, W. p. 160, as suggested by Capps, AJP. XX (1899), p. 404, n. 3. 

94, ᾿Ασκλεπιόδωρος ᾿Απολλωνίου, κωμῳδός, member of the guild of tech- 
nitae at Ptolemais in the reign of Ptolemy Philadelphus, BCH. IX (1885), 
p. 182, Michel 1017, Ditt. Orient. Gr. Insc. 51. 

95. ᾿Ασκληπιόδωρος, actor, uncertain date. See p. 148. 


88 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


96. ᾿Αστίας ᾿Απολλοδώρονυ Βοιώτιος, κωμῳδός at the Soteria at Delphi in 
269 p.c., SGDI. 2566, 1. 65. Ditt. Syl.2 691. He is mentioned first in his 
company. 

97. Ἄτταλος Αττάλον ᾿Αθηναῖος, as ὑ. κωμῳδιῶν victor at the Charitesia 
at Orchomenus 100-75 s.c., IG. VII 3197. Kirchner No. 2684. 

98. Ἄτταλος, comic actor or comic poet, uncertain date, inse. Teos, 
ΟἿΆ. 3088: κωμῳδίας “Art| ταλος]. 

100. Αὐτοκράτης, τραγῳδός at the Dionysia at Delos in 171 Β.ο., BCH. 
TX (1885), p. 147. 

101. Αὐτόλυκος Ἄστωνος Αἰτωλός, κωμῳδός at the Soteria at Delphi in 
271 and 270 B.c., SGDI. 2564, 1. 66, 2565, 1. 68, identified by Capps AJA. 
IV (1900), p. 81, with Autolycus, ὑ. x., once victor at the Lenaea ca. 278 
Β. ο., IG. ΠῚ 977 2(v), W. p. 153. He is both times mentioned first in his 
company at Delphi. 

παν νιον » κωμῳδός at the Dionysia at Delos in 280 B.c., 
BCH. VIT (1883), p. 106, according to the reading of Robinson AJP. 
XXV (1904), p. 156. 


103. Baxx-, ὑ. τ. victor at the Lenaea ca. 315 B.c., IG. 11 977 v(x), 
W. p. 145. 

104. Bo-, IG. II 977 m'‘(a’), W. p. 164, assigned by Reisch Z6G. 
1907, p. 306, to Lenaean list of comic actors. Doubtful. 


105. Tapixds Alfavelrns, κωμῳδός, ἔζησεν ἔτη ιε΄, inse. Misenum, IG. XIV 
874, uncertain date. 

106. T&apxos, κωμῳδός, member of the guild of technitae at Ptolemais 
in the reign of Ptolemy Philadelphus, BCH. IX (1885), p. 132, where 
Τελέμαχος is reported, corrected by Wilhelm, p. 252. Michel 1017, Ditt. 
Orient Gr. Inser. 51. 

107. Γλαυκίας ἩΗρακλείδον, Athenian, κωμῳδός, theorus and participant in 
the paean and scenic contest at Delphi as representative of the Athenian 
technitae ca. 97 B.c., BCH. XXX (1906), No. 49, p. 277, ll. 16, 33. His 
father, Heracleides s. Glaucias, ἀρχιθεωρός ibid. No. 48, p. 272, 1. 7, was 
son of Ἡρακλείδης Kpweis IG. IT 984, 1. 15, and grandson of Ἡρακλείδης 
Σωσικράτους Kpwers, priest in TG, IT 952, 1. 22, TAavxias Κριωεύς, κῆρυξ 
at Delos in 102 8. ¢., was probably the κωμῳδός. Not in Kirchner. 

108. TAavxlas Σωσάνδρον Θηβαῖος, as ὑ. τραγῳδιῶν victor at the Am- 
phiaraia at Oropus soon after 86 B.c., IG. VIT 419; ibid. 418 and 419 he 
appears also as κῆρυξ. 

109. Τοργοσθένης, ὑ. τ., victor at the Lenaea ca. 300 s.c., IG. ΠῚ 977 
wb’), W. p. 145, Tol pyooPéms-]; twice victor at the Dionysia ca. 280 B. c., 
ibid. f(t), W. p. 159, {Πο]ργοσθένης. The name is restored in both places 
by Reisch ZOG. 1907, p. 306, cf. Pliny N. H. xxxv. 983: mirantur eius 


ῪὋ 


(sc. Apellis) Habronem Sami, Menandrum regem Cariae Rhodi, item 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 89 


Ancaeum, Alexandreae Gorgosthenen tragoedum, etc. The dates of the 
name in the Victors’-lists show that he was in fact a contemporary of 
Apelles. 


110. A—, IG. II 977 m'(a’), col. ii, 1.4, W. p. 164, assigned by Reisch 
to the catalogue of Lenaean comic actors. Doubtful. 

111. A~, IG. II 977 m'(a’), col. ii, 1. 10, W. p. 164, assigned by Reisch 
to the catalogue of Lenaean comic actors. Doubtful. 

llla. Δι-, IG. II 977 m‘(@), col. ii, 1.8, W. p. 164, assigned by Reisch 
to the catalogue of Lenaean comic actors. If this is right, restore 
Ad oyetrwv-|, No. 136. Doubtful. 

112. Δαμότιμος Tipwvos ᾿Αμβρακιώτης, κωμῳδός at the Soteria at Delphi 
in 269 8. ο., SGDI. 2566, 1. 62, Michel 895, Ditt. Syl.” 691. 

113. Δάματρος Πουθέαο τραγαρυδός, spurious inscription from Corcyra, 
CIG. 1583, Rhein Mus. XVIII, p. 549. 

114. Δαμοκλῆς Τιμοκράτεος Αἰγιεύς, synagonist (tragic or comic?), 
ἐνδαμήσας συναγωνίξατο μετὰ ᾿Αρίστιος, inscr. Delph., ca. 155 B.c., SGDI. 
2123. Cf. No..73. 

115. Δάμων Εἰὐδήμου Μεγαρεύς, τραγῳδός at the Soteria at Delphi in 272 
B, c., SGDI. 2563, 1. 34. 

116. Δάμων, 6. «., acted a play by Paramonus after the poet’s death, 
also the Poetés of Biottus, Dionysia, in 167 B. o., IG. IT 975 ο, W. p. 70, 
and in 1558.0. acted the Heautou Katapseudomenos of Chaerion and the 
Agnooun of Biottus, and as κωμῳδός brought out the Philathenaios of 
Philippides as παλαιά, ibid. fr. d, W. p. 70. Wilhelm, p. 256, plausibly 
identifies him with No. 117. 

117. Δάμων Βίωνος, Athenian, κωμῳδός, participant in the paean and 
scenic contest at Delphi 138-128 Β. co. as representative of the Athenian 
guild of technitae, BCH. XXX (1906), No. 48, p. 272, ll. 10, 25. Same as 
No. 116? Not in Kirchner. 

118. Δάμων Evyelrovos, Athenian, comic synagonist, participant in the 
paean and scenic contest at Delphi in 106 8.c. as representative of the 
Athenian guild of technitae, BCH. XXX (1906), No. 50, p. 288, 1]. 18, 31. 
Possibly of the same family as Eugeiton, No. 187. Not in Kirchner. 

119. Δεξικράτης, v. κι» see No. 133. 

120. Δεξίλαος, κωμῳδός at the Dionysia at Delos in 284 8. ο.., BCH. VII 
(1883), p. 104. 

121. Aépxeros, ὕ. κι, victor at the Lenaea ca. 290 8. ο., IG. 11 977 y(u), 
W. p. 153, and once at the Dionysia ca. 287 8. σ., ibid. fr. δ' (7), W. 
p. 156. 

122. Δερκύλος, tb. x., fifth cent. B.c., schol. Arist. Vesp. 78: ὃ AepxvAos, 
κωμικὸς ὑποκριτής. 

123. Δημ-, ὕ. κι», victor at the Lenaea ca. 215 3.0., IG. II 977 a’, 
W. p. 153. 


90 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


124. Δημέας ᾿Αναξικράτονυ ᾿Αθηναῖος, κωμῳδός at the Soteria at Delphi in 
270 5. c., SGDI. 2565, 1. 64, whence the name was restored by Capps AJA. 
IV (1900), p. 82, in IG. II 977 δ΄ (7), W. p. 156: . . AEA 1, assigned to the 
City list, date ca. 290 8.c. Demeas is the second in the company at 
Delphi; cf. Nos. 218, 406. Kirchner No. 3312. 

125. Δημήτριος, ὑ. x., uncertain date, nicknamed Πέλεκυς, Hesych. s. v.: 
τραγῳδιῶν ὑποκριτής. καὶ ἴσως ὑπεκρίθη τὸν ᾿Αγαμέμνονος θάνατον, πελέκει κατὰ 
πολλοὺς γενόμενον. 

120, Δημήτριος, ὑ. κι. twice victor at the Lenaea ca. 258 B.c., IG. IT 
977 y(u), W. p. 153. Without reason identified by Wilhelm, p. 154, 
with the comic poet of the third century; above, p. 42, n. 

1264. Δημήτριος Nixalov Μιλήσιος, as b. παλαιᾶς τραγῳδίας victor at Samos 
second century B.c., Gardner in JHS. VII (1886), p. 148, 1. 3, who gives 
Δημήτριος Νικάρχου, corrected by Capps TAPA. XXXI (1900), p. 136; 
ibid., 1. 9, was victor as ὑ. καινῶν tp. Michel 901. 

127. Δημήτριος ᾿Αριστοδήμου, Athenian, tragic synagonist, represented 
the Athenian guild of technitae at Delphi ca. 97 B. c., BCH. XXX (1906), 
No. 49, p. 278, 1. 38. Not in Kirchner. 

128. Δημήτριος Δημητρίου, Athenian, κωμῳδός at Delphi as representa- 
tive of the Athenian guild of technitae ca. 97 B.c., BCH. XXX (1906), 
No. 49, p. 278, 1.33. Son of πυθαιστὴς παῖς at Delphi in 138 B.c., ibid. 
p. 198,1.11? Identical with | Jos Δημητρίου ᾿Αθηναῖος (No. 541), κωμῳ- 
δός at the Sarapieia at Tanagra 100-75 Β. ο., IG. VII 540, and with 
Δημήτριος Δημητρίου Τρικορύσιος, ὁ ἐπὶ τὰ ἱερά, CIG. 2306, ca. 95-88 B. c., 
Kirchner No. 3447? 

129. Δημήτριος Θεοδοσίου, Athenian, κωμῳδός at Delphi as representative 
of the Athenian guild of technitae ca. 97 B.c., BCH. XXX (1906), 
No. 49, p. 278, 1. 86, Not in Kirehner. 

130. Δημήτριος, comoedus apud Juv. 3. 97, quoted under No. 34. 
Characterized by Quint. 11. 3. 178: maximos actores comoediarum 
Demetrium et Stratoclea placere diversis virtutibus vidimus. sed illud 
minus mirum quod alter deos et iuvenes et bonos patres servosque et 
matronas et graves anus optime, alter acres senes, callidos servos, parasitos, 
lenones et omnia agitatoria melius. fuit enim natura diversa, nam vox 
quoque Demetri iucundior, illius acrior erat. annotandae memoriae magis 
proprietates quae transferri non poterant, manus iactare et dulces ex- 
clamationes theatri causa producere et ingrediendo ventum concipere 
veste et non numquam dextro latere facere gestus, quod neminem 
alium nisi Demetrium decuit, nam in haee omnia statura et mira specie 
adiuvabatur; illum cursus et agilitas et vel parum conveniens personae 
risus, quem non ignarus rationis populo dabat et contracta etiam cer- 
vicula. quidquid horum alter fecisset, foedissium videretur. 

131, Δημήτριος, κωμῳδός of the first century a. p., tit. sep. Rome, IG. 
XIV 1536, IGRR. 1 241: Δημητρίῳ κωμῳδῷ ds ἔζησεν ἔτη κα΄, μῆνας θ΄, ἡμέρας 





PROSOPOGRAPHIA HISTRIONUM GRAECORUM 91 


ἰδ΄. εὐψύχει Δημ[ή]τριε. οὐδεὶς ἀθάνατος. μνήμης εἵνεκεν. By Cagnat and La 
Faye in IGRR. wrongly identified with the contemporary of Quintilian, 
No. 130. 

132. ἸΤόπλιος Σεξτίλιος Ποπλίου vids Δημήτριος, τραγῳδὸς ἀνίκητος, Insc. 
Rome, IG. XIV 1099, IGRR. 1 159. 

133. Δημοκράτης, &. x. once victor at the Lenaea ca. 244 8. ο., IG. II 
977 za‘(v), W. p. 148, Δ[ημο]κράτης or Δ[εξιϊκράτης, W. p. 155. 

134. Δημόστρατος, comic didascalus, last quarter of the fifth century 
B.¢., brought out a play for Eupolis Ath. 216d: Εὔπολις τὸν Αὐτόλυκον 
διδάξας διὰ Δημοστράτου χλευάζει τὴν νίκην Tod Αὐτολύκους Nothing is known 
of him as a poet. 

135. Δημοφῶν, ὑ. κι, once victor at the Lenaea ca. 297 B.c., IG. 11 
977 y(u), W. p. 153, [Δη]μ[ οφῶ]ν, restored by Wilhelm. 

136. Διογείτων [ ] Βοιώτιος, comic didascalus at the Soteria at 
Delphi in 272 8. c., SGDI. 2563, 1. 66. Baunack ad loc. and Preuner 
Delph. Weihgeschenk, p. 75, identify with Διογείτων Εὐχαρίδου Βοιώτιος, 
comic dancer in SGDI. 2564, 1. 74 and 2565, 1.75. But see Capps TAPA. 
XXI (1900), p. 127. 

137. Διογείτων, 3. κι, acted the Lytroumenos of Timostratus at the 
Dionysia of 188 8. ο., IG. II 975 a, col. ii, W. p. 70. 

138. Διογένης ᾿Αντίγωνος Θηβαῖος, as b. τραγῳδιῶν victor at the Sarapieia 
at Tanagra 100-75 8. c., IG. VIT 540. 

139. Διογένης, 6. τ., uncertain date, Ael. De animal. 6.1: Διογένης δὲ ὃ 
τῆς τραγῳδίας ὑποκριτὴς τὴν ἀκόλαστον κοίτην ἀπείπατο παντελῶς πᾶσαν. Also 
in Var. hist. 3. 80. 

140. Διόδωρος ᾿Αθηναῖος, κωμῳδός at the Dionysia at Delos in 284 B8.c., 
BCH. VII (1883), p. 104. See Wilhelm Urk., p. 245. Kirchner under 
No. 3959. 

141. Διόδωρος Σινωπεύς, κωμῳδός at the Dionysia at Delos in 284 and 
280 B.c., BCH. VII (1883), pp. 104, 106. The comic poet D. was from 
Sinope, Ath. 431 ¢, but was admitted to Athenian citizenship, as was his 
brother Δίφιλος Sypyaxidns, Auctor Lex. Hermanni, p. 524 (Meineke Hist. 
crit., p. 446). Hence Capps identifies the actor with the poet and with 
the Διόδωρος Δίωνος Σημαχίδης whose father Δίων Διοδώρου Σινωπεύς and 
brother Δίφιλος Δίωνος Σινωπεύς (the comic poet) are mentioned on the 
same sepulchral inscription IG. II 3343, dated by Wilhelm Urk., p. 60, 
in the early part of the third century B. c.; see Capps AJA. IV 
(1900), p. 83, π. 1 and AJP. XXI (1900), p. 47, n. 2. As poet he brought 
out two plays at the Lenaea of 288 8.c., IG. II 972. On Diodorus of 
Sinope see Robinson Ancient Sinope, Prosopographia, and Kirchner No. 
3959. 

142. Διόδωρος, κωμῳδός, member of the guild of technitae at Ptolemais 
in the reign of Ptolemy Philadelphus, BCH. IX (1885), p. 132, Michel 
1017, Ditt. Orient. Gr. Inser. 51. 


92 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


143. Διοκλῆς Διοκλέους ᾿Αθηναῖος, τραγῳδός at the Soteria at Delphi in 
269 s.c., SGDI. 2566, 1.55, Michel 895. Perhaps the contemporary of 
Philemon mentioned by Philostratus Epist., p. 485. 28 Hercher (Φιλή- 
pov): τὸν τραγῳδὸν Διοκλέ εἰ μὲν ἤδη γιγνώσκεις ἐπαινεῖς δήπου, εἰ δ᾽ ἀγνοεῖς, 
ἐν τοῖς καλῶς ἐπαινουμένοις ypade. He is mentioned first in his company at 
Delphi. Kirchner No. 3997. 

144. Διοκλῆς Aloxivov, Athenian, tragic hypodidascalus and didascalus 
Tov μεγάλου χοροῦ at Delphi representing the Athenian guild of technitae 
ca. 97 8.c., BCH. XXX (1906), No. 49, p. 277, ll. 15, 18, 48. Not in 
Kirehner. 

145. Διομήδης "A@nvoSépov, Athenian, tragic synagonist, representative 
of the Athenian guild of technitae at Delphi in 106 8.c., BCH. XXX 
(1906), No. 50, p. 288, 1. 34. Wilhelm, p. 256, probably is right in identi- 
fying with A. ᾽Α. ᾿Αθηναῖος, ποιητὴς κωμῳδιῶν in a votive inscription of 
Epidaurus, IG. IV 1156, whose statue was set up in the Athenian theater 
with the inscription Διομήδης, IG. ΠῚ 952, identified in turn by Capps 
AJP. XXI (1899), p. 47, n.2, with the comic poet A. ’A. Περγαμηνός in 
Kern Inschr. von Magnesia 886. A native of Pergamum, he was ad- 
mitted to Athenian citizenship, and evidently before the Pythiad of 
106 8. c. in which he participated as an Athenian. See above, p. 72, and 
Kirchner No, 4071 and Vol. II, p. 455. 

146. Διονύσιος, tragic didascalus for Aphareus between 368 and 
341 5. αὶ Vit. X Orat. 839d: διδασκαλίας ἀστικὰς καθῆκεν ἕξ, καὶ dis ἐνίκησε 
διὰ Διονυσίου καθείς. καὶ δι᾿ ἐτέρων δύο Anvaixas. See Susemih] Rhein. Mus. 
XLIX (1894), p. 474, who wrongly argues that the practice of assigning 
protagonists to all the competing poets in rotation, which we see exem- 
plified in IG. II 973, had not been introduced when Aphareus’ victories 
were won. But Dionysius was didascalus, not necessarily also pro- 
tagonist. 

147. Διονύσιος, τραγῳδός at the Dionysia at Delos in 280 8.c., BCH. 
VIT (1883), p. 106. 

148. Διονύσιος Σίμου Ἡρακλειώτης, κωμῳδός at the Soteria at Delphi in 
272 and 269 8. c., SGDI. 2563, 1. 53, 2566, 1. 66, Michel 895, Possibly 
identical with [Διονύσιος IT in IG. Il 977 m’; see No. 150. 

149. Διονύσιος Φιλοκύδου ᾿Αθηναῖος, comic didascalus at the Soteria at 
Delphi in 271 and 270 8, o., SGDI, 2564, 1. 70, 2565, 1.71. See Philoeydes, 
No. 486. Kirchner, No. 4127. 

150. Διονύσιος, IG. Il 977 ma’), W. p. 164, assigned by Reisch ZG. 
(1907), p. 306, to the Lenaean list of comic actors, middle of the third 
century. Doubtful. If comic actor, plausibly identified by Wilhelm 
Urk., p. 164, with No, 148. 

151. Διονύσιος Atop . . . patos, τραγῳδός at the Soteria at Delphi in 
226 (or 225) Βι c., SGDI. 2568. Wilhelm Urk., p. 165, wrongly makes 
him a comic actor. 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 93 


152. Διονύσιος Νύνφιδος, Athenian, tragic hypodidascalus, ambassador 
to the Amphictyonic Council on behalf of the Dionysiae artists in 130/29 
B.0., IG. II 551, ll. 44, 70, Michel 1009. Another copy BCH. XXIV 
(1900), p. 82, preserves the full name, which in the Athenian copy is 
A. Νυμφ-. For the date see Ferguson Priests of Asklepios. Kirchner 
No. 4123 wrongly restores Nupd| οδώρου]. 

154. Διονύσιος Δαμοκλέους, Athenian, tragic synagonist at Delphi in 
106 B.c. as representative of the Athenian guild of technitae, BCH. XXX 
(1906), No. 50, p. 288, 1. 388. Not in Kirchner. 

155. Διονύσιος Διονυσίου Ῥόδιος, κωμῳδός, ca. 200 B.0., IG. IV 1508 ς, 1.6 
(Epidaurus): κατάδικοι οἱ γενόμενοι TOV τεχνιτᾶν διὰ τὸ μὴ ἀγωνίξασθαι κεκο- 
μισμένοι τὸν μισθόν: .... κωμ(ω)ιδὸς Διονύσιος Διονυσίου Ῥόδιος μνᾶν τεσσάρων. 
Michel 1338, Inse. Jurid. I, p. 495. 

156, Διονυσόδωρος, τραγῳδός at the Dionysia at Delos in 268 B. c., BCH. 
VII (1883), p. 109. 

157. Διονυσόδωρος ᾿Ασκληπιάδου Βοιώτιος, κωμῳδός at the Soteria at 
Delphi in 271 and 269 8. c., SGDI. 2564, 1. 62, 2566, 1. 69. 

158. Διοσκουρίδης Μενάνδρου Συπαλήττιος, Athenian, κωμῳδός at Delphi 
as representative of the Athenian guild of technitae in 138 8.c., BCH. 
XXX (1906), No. 48, p. 273, 1. 26; the name is restored from 1. 17, where 
he is theorus, the demoticon by the identification of his son Μένανδρος 
Διοσκουριδου Συπαλήτί[ τιος |, who was ephebe in 101 B.c., IG. 11 467, 1, 134. 
See No. 508 6. Not in Kirchner. 

158 a. Διότιμο[ς Διο]τίμου Μάγνης [ἀπὸ Μαιάνδρου], ὑποκριτής, uncertain 
date, inse. Teos, Lebas-Wad. IIT. 92, Brother of Hermotimus No. 180. 

159. Δίων Θευδώρου ᾿Αχαιός, κωμῳδός at the Soteria at Delphi in 272 B.c., 
SGDI. 2563, 1.52. He is mentioned first in his company. 

160. Δίων Δίωνος, Athenian, κωμῳδός, participated in the paean and 
scenic contest at Delphi as representative of the Athenian guild of tech- 
nitae 138-128 B.c., BCH. XXX (1906), No. 48, p. 272, 11. 11, 25. Not in 
Kirchner. 

161. Διώξιππος, see under ᾿Ανάξιππος, No. 28. 

162. Δράκων Avkwvos Ταραντῖνος, τραγῳδός at the Soteria at Delphi in 
271 8.c., SGDI. 2564, 1. 50. Identified by A. Korte N. Jahrb. f. klass. 
Alt. III (1900), p. 86, with Δράκων τραγῳδός in the accounts of the Delian 
hieropoioi, BCH. XIV (1890), f. 396: χορῷ τῷ γενομένῳ τοῖς κωμῳδοῖς καὶ 
τῷ Tpaywoo Δράκοντι, τοῖς ἐπιδειξαμένοις τῷ θεῷ. At the Delian Dionysia he 
performed in 2808.c., BCH. VII (1883), p. 107, .0a...., corrected by 
Capps TAPA. XXXI (1900), p. 117, confirmed by Robinson AJP. XXV 
(1904), p. 186, and in 279 8. ο., ibid. p. 108, “Acapaxwv, corrected by 
Homolle BCH. XIV (1890), p. 502, to Δράκων. He is mentioned first in 
his company at Delphi. 

163. Δωρόθεος Δωροθέου Tapavrivos, as v. σατύρων Victor at the Charitesia 
at Orchomenus 100-75 B.o., IG. VII 3197. 


94 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


164. E-, ὑ. τ΄, victor at the Lenaea ca. 318 B. ο., IG. 11 977 v(x), W. p. 45. 

$65. - ἢ Ss we s, 0. τι, once victor at the Lenaea ca. 337 B.c., IG. IT 
977 u(z), W. p. 145. 

166. ‘“Exaraios, i. x., acted the Philodespotos of Sogenes at the Dionysia 
in 182 Β. c., IG. II 975 ὃ, W. p. 72. 

167. ᾿Ελπίνικος ᾿Επικράτου, Athenian, tragic hypodidascalus, ambas- 
sador to the Amphictyonie Council on behalf of the Athenian Dionysiac 
artists in 130/29 8. c., IG. IT 551, 1]. 46, 72, Michel 1009. Another copy 
BCH. XXIV (1900), p. 82. For the date see Ferguson Priests of Askle- 
pios. Singer of the paean at Delphi representing the Athenian guild of 
technitae ca. 138-128 Β. c. BCH. XXX (1906), No. 48, p. 272, 1.15. Not 
in Kirchner. 

168. ᾿Εμμενίδης, ὑ. κι», once victor at the Lenaea ca. 282 Βι ος, IG. ΠῚ 977 
z(v), W. p. 153; victor at the Dionysia ca. 280, ibid. εἰ, W. p. 156. 

169. ᾿Επαμείνων, ὑ. 7., victor at the Lenaea ca. 282 B.c., IG. ΠῚ 977 ds), 
W. p. 157, "Exape ψων-}; twice at the Dionysia a little before 278 B. c., 
ibid. f(t), W. p. 159, identified by Reisch ZéG, (1907), p. 306. 

170. ᾿Επιγένης . . . . Zaropvelvo Ἡρακλειώτης τοῦ Πόντου, κωμῳδός. ἔτων Ke, 
χαίρετε, tit. sep. Lesbos, Arch. Ztg. ΧΤΙ (1854), p. 514. 

171. ᾿Επίνικος, ὑ. τ., four times victor at the Lenaea ca. 258 Β. οἰ, IG. 
II 977 o(n), W. p. 166, assigned to catalogue of Lenaean tragic actors by 
Reisch Z6G. (1907), p. 306. 

172. ᾿Επίνικος ᾿Αλεξάνδρον ᾿Αθηναῖος, as tpaywdds victor at the Amphi- 
araia at Oropus soon after 86 8.c., 1G. VII 416. He also recited.the epi- 
nicium. Kirchner No. 4940. 

173. ᾽᾿Επίτιμος [ —- ] "ApBpaxiérys, κωμῳδός at the Soteria at Delphi in 
272 Β. c., SGDI. 2563, 1. 63. 

114. ᾿Εράτων Φίλωνος Θετταλός, τραγῳδός at the Soteria at Delphi in 272 
B. o., SGDI, 2563, 1. 38. 

175. ᾿Εράτων, κωμῳδός, brought out the Megarika of Simylus as παλαιά 
at the Dionysia in 185 Bs. c., 1G. ΠῚ 975 a, col. ii, W. p. 70. 

L176. "Epyivos Σιμύλου Κασσανδρεύς, τραγῳδός at the Soteria at Delphi in 
270 5. c., SGDI. 2565, 1. 48. He is mentioned first in his company. 

177. ᾿Εργόφιλος, κωμῳδός at the Dionysia at Delos in 268 and 263 Β. c., 
BCH. VIT (1883), pp. 109, 112 (on p. 109 for ᾿Εργόφιλος Ἱέρωνος read Ἔργό- 
φιλος, Ἱερώνζυμν)ος; see under No, 254). 

178. ‘Epéripos, κωμῳδός at the Dionysia at Delos in 263 8. c., BCH. VII 
(1883), p. 112. 

179. “Ἑρμόδοτος, τραγῳδός (7), uncertain date, inse. Teos, Lebas-Wad. 
ΠῚ, 92, quoted under No. 180. 

1.50. “Ἑρμότιμος "Apxixdclov τοῦ Διοτίμου Μάγνης ἀπὸ Μαιάνδρου, ὑποκριτὴς 
σατύρων, inse. Teos, uncertain date, Lebas- Wad. ΠῚ, 92: νικήσας ἀνέθηκεν τὰ 
πρόσωπα καὶ τοὺς στεφάνους | Ὲἐ| ἐν τοῖς Διονυσίοις. σατύρων ὑποκριτής" Ἕρμό- 
τιμὸς, κτέ., τραγῳδῶν: Μητρόδωρος | |‘Eppodoros. ὑποκριτής" Δώτιμος, xré. 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 95 


181. Ἑ, ρμόφαντος, v. x., once victor at the Lenaea ca. 240 B. ο., IG. IT 
977 za(v), W. p. 153. Conjecturally restored by Capps TAPA XXXI 
(1900), p. 134, by identification with the actor mentioned by Jason apud 
Ath. 620 d in connection with a celebration probably in the reign of 
Ptolemy Philadelphus: Ἰάσων... . φησὶν ἐν τῷ μεγάλῳ θεάτρῳ (in Alex- 
andria) ὑποκρίνασθαι “Hynotav τὸν κωμῳδὸν τὰ Ἡσιόδου, Ἑρμόφαντον δὲ τὰ 
Ὁμήρου. Probably not to be identified with No. 182, see Wilhelm pp. 155, 254. 

182. ‘Eppédavros, ὑποκριτής, victor in insc. Samos CIG. 3091, Brinck, 
Inscr. Gr. ad choregiam pert., p. 207, now dated about the middle of the 
second century B.o.; cf. Wilhelm, p. 254. Hence not to be identified, 
with Capps, with No. 181. 

183. “Eppov, >. κι, last quarter of the fifth century B.c. Wona victory 
at the Lenaea some time after 423, when Aristophanes brought out the 
second Pax in which Apollodorus was the leading actor; so A. Korte 
Rhein. Mus. 1.71 (1897), p. 168, and above, p. 48. Hyp. Arist. Pac., 
ἐνίκα Ἕρμων ὃ ὑποκριτής, quoted under No. 41, is thus best explained. 
According to the scholia Aristophanes Nub. 541 f. alludes to him in 
the role of πρεσβύτης: οὐδὲ πρεσβύτης ὃ λέγων τἄπη τῇ βακτηρίᾳ τύπτει τὸν 
παρόντ᾽. ἀφανίζων πονηρὰ σκώμματα, SChol. ad loc.: τοῦτο εἰς Ἕρμωνα (ξέρμωνα 
V) λέγει τὸν ὑποκριτήν. καὶ γὰρ ἐκεῖνος τοῦ γελᾶν χάριν τοὺς ἐγγὺς ἐστῶτας 
ἐτύπτε τῇ βακτηρίᾳ. Schol. in cod. Cant. 8: οὐδὲ πρεσβύτης: ὃ Σιμέρμων. 
Σιμέρμων τις ἕτερος κωμικὸς ἔν τινι αὐτοῦ δράματι, ete. An inferior scholium 
(Brunck) ad 542 speaks of him as an δοίου for Hermippus: ἵν᾽ 7 γέλως: τοῦτό 
φησι διὰ τὸν ἽῬμιππον, καὶ τὸν Ξιμέρμωνα τὸν τούτου ὑποκριτήν. οὐδὲ πρεσβύτης: 
ὡς Βύπολις ἐν τοῖς Προσπαλτίοις, ἢ ὡς εἰς τοῦτο τὸ μέρος εὐεπίφορον ὄντα τὸν 
ἽἝρμιππον (οἱ δὲ Ξιμέρμωνα τὸν ὑποκριτήν, Musurus). Pollux 4. 88 records 
this incident in his career: Ἕρμων ἣν κωμῳδίας ὑποκριτής. λάχων δὲ μετὰ 
πολλοὺς (56. εἰσιέναι), ὁ μὲν ἀπῆν τοῦ θεάτρου τῆς φωνῆς ἀποπειρώμενος, τῶν δὲ 
πρὸ αὐτοῦ πάντων ἐκπεσόντων “Eppwva μὲν ὁ κῆρυξ ἀνεκάλει, 6 δ᾽ οὐχ ὑπακού- 
σας ζημίᾳ πληγεὶς εἰσηγήσατο τοῦ λοιποῦ τῇ σάλπιγγι τοὺς ἀγωνιστὰς ἀνακαλεῖν. 
Pollux 4. 143 also speaks of two comic masks, Ἑ;ρμωνεῖος σφηνοπώγων and 
“Eppovetos δεύτερος, Which according to Etym. Mag. 376. 48 derived their 
name from a certain person of the name: προσωπεῖα οὕτω καλούμενα ποιά, 
ἀπὸ Ἕρμωνος τοῦ πρῶτον εἰκονίσαντος. Since one of the objects mentioned 
in Etym. Mag. (Θηρίκλειος κύλιξ) we know on the authority of Ath. 470e to 
have been invented in the time of Aristophanes, it is not improbable that 
the “Eppwveios had its name from the actor. On Hermon see Volker, pp. 
170 ff., who discusses the various forms in which the name is written in 
the codices, and rightly identifies the actor mentioned by Pollux with 
the actor referred to in the scholia, and A. Miller B.-A., p. 188. 

184. ’Eportwv, v. τ., victor at the Lenaea ca. 280 8. c., IG. 11 977 as), 
W. p. 157. 

165. ἘΠῸ 5275's wv, τραγῳδός at the Dionysia at Delos in 171 B. σ., 
BCH. IX (1885), p. 147. 


96 HISTORY OF ACTORS AND AOTING IN ANCIENT GREECE 


155 α. Evapyx (Sys ᾿Αμφιστράτον Βοιώτιος, κωμῳδός at the Soteria at Delphi 
in 271 8. c., SGDI. 2564, 1. 63. 

186. Etapxos Ἡροδότου Κορωνεύς, as ὑ. παλαιᾶς κωμῳδίας victor at the 
Musaea at Thespis 100-75 8. c., IG. VII 1760, Michel 892; as 0. καινῆς 
κωμῳδίας victor at the Amphiaraia at Oropus soon after 86 B.c., ibid. 417; 
at the Charitesia at Orchomenus as performer of the ἐπινίκιον: τὰ ἐπινίκια 
κωμαρυδός, Ev. Eipoddrov K., ibid. 3195, Michel 894, ca. 100-75 8. c. 

151. Εὐγείτων Εὐμήδεος Λευκονοεύς, τραγῳδός at Delphi as representative 
of the Athenian guild of technitae in 106 B. c., BCH. XXX (1906), No. 50, 
p. 288, 1.32. His father Εὐμήδης Εὐγείτονος sang in the paean ibid. No. 48, 
p. 272, 1. 16. Cf. Εὐμήδης Εὐγείτονος Aevxovoers in a tit. sep. third century 
Β. c., IG. Il 2301, which furnishes the demoticon. Not in Kirchner. 

188. Εὐδαίμων ᾿Αττικοῦ Θηβαῖος, as τραγῳδός victor at the Musaea at 
Thespiae 161-169 a. p. BCH. XIX (1895), No. 17, p. 345. 

189. Εὔδημος, κωμῳδός (τρίς) at the Dionysia at Delos in 201 8. c., BCH. 
VII (1883), p. 116. 

190. Εὔδικος ᾿Αλκίμου, Athenian, tragic synagonist at Delphi as repre- 
sentative of the Athenian guild of technitae ca. 97 B. c.. BCH. XXX 
(1906), No. 49, p. 278, 1. 88. Not in Kirchner. 

191. Evepy-, ὑ. κ΄. victor at the Dionysia in 163 8. c., IG. IT 975 e, W. 
p. 69, as restored by Reisch [ὑπο] Evepy |[— ἐνίκα]! Kohler restored [ἐπὶ] 
Eiiep| γ οὐκ ἐγένετο), retained by Wilhelm. Reisch is probably right, for 
no archon Euerg- is known and there is no other instance in 975 of the 
failure of the comic contest for three successive years. 

192. Εὐθίας, comic actor (or poet), uncertain date, IG. IT 3688, Kaibel 
Epig. Gr. 38: ζηλοῖ σ᾽ Ἑλλὰς πᾶσα ποθεῖ θ᾽ ἱεροῖς ἐν ἀγῶσιν, | EvOia, οὐκ 
ἀδίκως - ὃς Téxver, οὐχὶ φύσει, | ἐμβοτρυοστεφάνῳ κωμῳδίᾳ ἡδυγέλωτι | δεύτερος 
ὧν τάξει πρῶτος ἔφυς σοφίᾳ. An unsuccessful deuteragonist, according to 
Kaibel, conf. Callim. Ep. ix (7) Schneider: ἦλθε Θεαίτητος καθαρὴν ὁδόν. 
εἰ δ᾽ ἐπὶ κισσὸν | τὸν τεὸν οὐχ αὕτη, Βάκχε. κέλευθος ἄγει. | ἄλλων μὲν κήρυκες 
ἐπὶ βραχὺν οὔνομα καιρὸν | φθέγξονται. κείνου δ᾽ Ἑλλὰς ἀεὶ σοφίην. But it is 
more likely that Euthias was a poet (cf. σοφίᾳ) of natural ability who 
died young before he had won the prize; ef. No. 326. 

193, Εὐκλῆς, τραγῳδός at the Dionysia at Delos in 268 5, c., BCH. VIT 
(1883), p. 109. 

194, Εὐκλῆς Ἰάμβου, κωμῳδός, inse. Tasos, ca. 180-150 Β. c., Lebas-Wad. 
IIT 284: Κυδίας Μενεξένου ἀγωνοθετῶν (alii) ἐπέδωκαν κωμῳδὸν Εὐκλῆν Ἰάμβου 
ἡμέρας δύο, καὶ ἡ θέα ἐγένετο δωρεάν. 

195. Εὐκράτης, τραγῳδός at the Dionysia at Delos in 171 8. ο., BCH. 
TX (1885), p. 147. 

196, Εὐπόλεμος, ὑ. τ., victor at the Lenaea ca. 390 B.c., IG. 11 977 8, 
W. p. 145. 

197. Εὐρήμων, ὑ. r., once victor at the Lenaea ca. 272 B. c., IG. 11 977 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 97 


(αι), W. p. 141, assigned to the Lenaean list of tragie actors by Reisch, 
Z6G. 1907, p. 306. 

198. Εὐριπίδης, tragic didascalus, son or nephew of the great poet, 
brought out the Aulian Iphigeneia, ete., in 404 8. ο., schol. ad Arist. 
Ran. 67, Suidas 5. Εὐριπίδης. 

199, Ἐὐτυχῆς Etrvxots, κωμῳδὸς ᾿Ασιανείκης Ἱεραπολείτης, insc. Aphro- 
disias of 127 8. c., Lebas-Wad. III 1619, a decree of the sacred synod of 
technitae of which he was ἐπιστάτης. Cf. No. 238. 

200. M. Eiruxiavis ᾿Αθηναῖος, as κωμῳδός victor at the Musaea at 
Thespiae, first half of the third century a. p., IG. VII 1776, BCH. XIX 
(1895), No. 18, p. 346. 

201. Εὔτυχος, κωμῳδός, DP. Πλεινίῳ Εὐτύχῳ κωμῳδῴ TI. Πλείψνιος Ζώσιμος 
συντρόφῳ καὶ ἀπελευθέρῳ τειμιωτάτῳ, insc. Rome, IG. XIV 1946, IGRR. 
I 332. The dedicator Zosimus was identified by Borghesi with Zosimus 
the freedman of Pliny Min., Ep. 5.19: quod si essem natura asperior et 
durior, frangeret me tamen infirmitas liberti mei Zosimi cui tanto maior 
humanitas exhibenda est, quanto nunc illa magis eget. homo probus, 
officiosus litteratus; et ars quidem eius et quasi inscriptio comoedus in qua 
plurimum facit, nam pronuntiat acriter, sapienter, apte, decenter etiam 
utitur et cithara perite ultra quam comoedo necesse est; idem tam com- 
mode orationes et historias et carmina legit ut hoc solum didicisse 
videatur. Kaibel regards the identification as improbable; but see 
Prosop. Imp. Rom. 

202. EixaplSns "Em xépov ᾿Οπούντιος, τραγῳδός at the Soteria at Delphi 
in 272 8... SGDI. 2568, 1. 33. 

204. ᾿Εχένικος, t. x., once victor at the Dionysia ca. 288 B.c., IG. II 
977 δ΄ (7), W. p. 156. Name restored by Wilhelm; Kéhler [Ted ]éuxos, 
for which the space is insufficient. 

205. “Exeros, t. 7., four times victor at the Lenaea ca. 260 8. c., IG. II 
977 o'(n), identified by Reisch Z6G. 1907, p. 306. 


206. Φλάβιος ᾿Αλέξανδρος Ζεΐλας Νεικομηδεύς, βιόλογος, uncertain date, 
inse. Tralles, Lebas-Wad. III 1652 6: ἡ βουλὴ καὶ ὃ δῆμος ἐτείμησεν Φλάβιον 
᾿Αλέξανδρον [Z]ei|A]av Νεικομηδέα βιόλογ[ οἱν ᾿Ασιονείκην διά τε τὴν τοῦ ἔργου 
ὑπερόχην καὶ τὸ κόσμιον τοῦ ἤθους νεικήσαντα δὲ ἐν ᾿Ασίᾳ ἀγῶνας in’, ἐν Λυκίᾳ 
δὲ καὶ Παμφυλίᾳ xs’, βουλευτὴν δὲ ᾿Αντιοχέων κα΄, Ἡρακλεωτῶν γερουσιαστὴν δὲ 
Μειλησίων. 

207. Ζωΐλος Ζωΐλου Συράκοσιος, as vt. παλαιᾶς κωμῳδίας victor at the 
Amphiaraia at Oropus soon after 86 8. ο., IG. VII 420. 


208. Ἡγέλοχος Κυντάρου, o. 7., latter part fourth century B.c. What 
we know of him is due almost entirely to his wretched performance of 
Euripides’ Orestes in 408 8.c., in which, as the passage from Strattis 
quoted below shows, he played the leading part, and especially to his 


98 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


recitation of 1. 279, ἐκ κυμάτων yap αὖθις αὖ γαλήν᾽ ὁρῶ; cf. schol. ad loc. 

κεκωμώδηται ὃ στίχος διὰ Ἡγέλοχον τὸν ὑποκριτήν. ov yap φθάσαντα διελεῖν 
τὴν συναλοιφὴν ἐπιλείψαντος τοῦ πνεύματος τοῖς ἀκροωμένοις τὴν ᾿ γαλῆν δόξαι 
λέγειν τὸ ζῷον, ἀλλ᾽ οὐχὶ τὰ *yaAnva.’ πολλοὶ μὲν οὖν αὐτὸ διέπαιξαν τῶν 
κωμικῶν, ᾿Αριστοφάνης καὶ Στράττις ἐν ᾿Ανθρωποῤῥαίστῃ (I, p. 711, Kock) 
.. «+» “Εὐριπίδου δὲ δρᾶμα δεξιώτατον διέκναισ᾽ (i. 6.. the Archon) ᾿Ορέστην, 
Ἡγέλοχον τὸν Κυντάρου (Κιννάρου Bentley, Κυννάρου Dindorf) | μισθωσάμενος 
τὰ πρῶτα τῶν ἐπῶν λέγειν.᾽ καὶ ἐν ἄλλοις παίζων φησί(1, p. 728, Kock) " αλήν᾽ 
ὁρῶ. Β. ποῖ, πρὸς θεῶν, ποῖ ποῖ γαλῆν; etc. καὶ Σαννυρίων ἐν Δανάῃ (I, 
p. 7194 K.) . . . . “φέρ᾽ εἰ γενοίμην μυγαλῆ. ἀλλ᾽ Ἡγέλοχος οὗτός με μηνύσειεν 
ἂν 6 τραγικός ἀνακράγοι 7’ ἂν εἰς ἐχθροὺς μέγα - "ἐκ κυμάτων. etc. He was 
mocked also by Aristophanes, Ran. 303: ἔξεστι θ᾽ ὥσπερ Ἡγέλοχος ἡμῖν 
λέγειν ᾿ ἐκ κυμάτων, ete.,’ cf. schol. ad loc.: Ἡγέλοχος ὃ τραγικὸς ὑποκριτὴς 
ὧν τοῦ Εὐριπίδου ᾿Ορέστην ὑποκρινόμενος οὕτω προηνέγκατο ὥστε μὴ ὑποχωρῆσαι 
ἐκ τῆς συναλοιφῆς τὸ ᾿ γαληνά, ἀλλὰ διαχωρῆσαι μᾶλλον, ὥστε δόξαι τὴν ᾿ γαλῆν᾽ 
αὐτὸν εἰπεῖν. schol. Dion. Thrac. Gramm. Gr, ITI, p. 163. 22 (Hilgard): καὶ 
yap Ἡγέλοχος ὁ τῆς τραγῳδίας ὑποκριτὴς οὐκ ἂν τοσοῦτον ὠφλήκει παρ᾽ ᾿Αθηναί- 
os τὸν γέλωτα, εἰ τὴν ἐν τῷ ἰάμβῳ ἀπόστροφον ἐγνώκει. Plato comicus also 
ridiculed his voice, Suid. 5, Ἡγέλοχος: τοῦτον δὲ καὶ ὡς ἀτερπῆ τὴν φωνὴν 
Πλάτων σκώπτει, οἴ. 5680]. Arist. Ran. 303: ὡς ἀηδὴς δὲ τὴν φωνὴν κωμῳδεῖται. 
Volker, p. 167. 

209. Ἡγησίας, κωμῳδός of about the middle of the third century B. c., 
Jason apud Ath. 620 d, ὑποκρίνασθαι ‘“Hynoiav τὸν κωμῳδὸν τὰ Ἡσιόδου, at a 
celebration at Alexandria, time of Ptolemy Philadelphus. The date is 
furnished by Hermophantus, No. 181. Possibly the son of 
Ἡγησίου ᾿Αθηναῖος. No. 558, κωμῳδός at the Soteria at Delphi in 2728.c., 
SGDI. 2563, 1.58. The name is probably to be restored in the Lenaean 
list IG. Il 977 za’, W. p. 153, ca. 248 B.c.: Ἡ[γησώ]ς 11. The initial 
letter KShler reports as Ἐς though Wilhelm gives only I. 

210. “Ηγήσιππος, τραγῳδός at the Dionysia at Delos in 280 B. c., BCH. 
VIT (1883), p. 107. 

211. ᾿Ηπειρώτης, τραγῳδός of the time of Nero, | Luc.| Nero 9: Ἰσθμοῖ yap 
νόμου κειμένου μήτε κωμῳδίαν ἀγωνίζεσθαι μήτε τραγῳδίαν, ἐδόκει Νέρωνι Tpayy-* 





δοὺς νικᾶν. καὶ παρῆλθον εἰς τὴν ἀγωνίαν ταύτην πλείους μέν, ὁ δ᾽ ᾿Ηπειρώτης 
ἄριστα φωνῆς ἔχων, εὐδοκιμῶν δ᾽ ἐπ᾽ αὐτῇ καὶ θαυμαζόμενος λαμπροτέρᾳ τοῦ εἰω- 
θότος. ἐπλάττετο καὶ τοῦ στεφάνου ἐρᾶν καὶ μηδ᾽ ἀνήσειν πρότερον ἢ δέκα τάλαντα 
δοῦναί οἱ Νέρωνα ὑπὲρ τῆς νίκης. ὁ δ᾽ ἠγρίαινέ τε καὶ μανικῶς dye καὶ γὰρ δὴ 
καὶ ἠκροᾶτο ὑπὸ τῇ σκηνῇ ἐπ᾽ αὐτῷ δὴ τἀγῶνι. βοώντων δὲ τῶν Ἑλλήνων ἐπὶ τῷ 
"Hrapory, πέμπει τὸν γραμματέα κελεύων ὑφεῖναι αὐτῷ τοῦτον. αὐτοῦ δὲ brepai- 
povros τὸ φθέγμα καὶ δημοτικῶς ἐρίζοντος εἰσπέμπει Νέρων ἐπ᾽ ὀκριβάντων τοὺς 
ἑαυτοῦ ὑποκριτὰς οἷον προσήκοντάς τι τῷ πράγματι: καὶ γὰρ δὴ καὶ δέλτους ἐλε- 
φαντίνους καὶ διθύρους προβεβλημένοι αὐτὰς ὥσπερ ἐγχειρίδια καὶ τὸν Ἠπειρώτην 
ἀναστήσαντες πρὸς τὸν ἀγχοῦ κίονα κατέαξαν αὐτοῦ τὴν φάρυγγα παίοντες ὀρθαῖς 
ταῖς δέλτοις. Was the actor's name Epeirotes, or was he merely an Epirote? 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 99 


212. Ἤρακλ-, κωμῳδός, brought out an old play at the Dionysia in 
180-170 z.c., IG. II 975 e, col. i. Probably with Wilhelm, p. 75, 
Ἥρακλ είδης], the comic actor of col. i, 1. 8 [ἪἬρακλε]ίδης, 180-170 B. 0. 
See No. 516. Wilhelm’s further suggestions, p. 256, are improbable. 

213. Ἥρακ-, v. τ., victor at the Lenaea ca. 278 8. c., IG. II 977 q(a’). 
Wilhelm, p. 141, restores “Hpax{Xevros —], No. 218. 

214. Ἡρακλείδης, ὑ. 7., first in the catalogue of victors at the Dionysia, 
hence won his first victory in 449 8. c., IG. II 977 p, W. p. 137 “Hpaxdeé- 
[δης---Ἰ; Capps Introd. of Comedy (Chicago, 1903), pp. 17, 22, n. 62, ef. 
AJP. XX (1899), p. 402, Wilhelm, p. 138, and Kaibel, p. 171. Wrongly 
restored by Wilhelm in the Lenaean list, Reisch Z6G. 1907, p. 308, n. 1; 
see under Καλλιππίδης, No. 274; and wrongly identified by Wilhelm, p. 62, 
with the tragic poet Heracleides in IG. II 972, col. ii. 

215. Ἡρακλείδης, ὑ. κι. twice victor at the Lenaea ca. 255 8. c., IG. I 
977 y(u), W. p. 153. 

216. Ἡρακλείδης, τραγῳδός, ca. 180-150 B. c., inse. Teos, Lebas-Wad. ITI 
258: Ἱεροκλῆς Φίλωνος (ἐπέδωκε) τραγῳδὸν Ἡ ρακλείδην ἡμέραν μίαν, καὶ ἣ πάροδος 
εὗρεν δραχμήν, ἡ δὲ θέα ἐγένετο δωρεάν. Three others furnished him on the 
same occasion. 

216 a. Ἡρακλείδης Θνατειρηνός, v. τ... uncertain date, Artemid. 4. 383, 
p. 223 Hercher: ‘H. v. ©. μέλλων ἀγωνίζεσθαι ἐν Ῥώμῃ τὸν τῶν τραγῳδῶν 
ἀγῶνα ἔδοξεν (1. 6.. ἐν ὕπνῳ) τοὺς θεατὰς ἀποσφάττειν καὶ τοὺς κριτάς. ἐλείφθη: 
οὐ γὰρ ἄν τις τοὺς φίλους ἀποκτείνειν ἀλλὰ τοὺς ἐχθρούς. τρόπον οὖν τινα ἔλεγε 
τὸ ἐνύπνιον ἐχθροὺς ἔσεσθαι τοὺς θεατὰς καὶ τοὺς κρίτας. ἄλλως τε καὶ οὐκ 
ἔμελλον αὐτῷ ἀποσφαγέντες οἴσειν ψήφους. 

211. Ἡράκλειτος Ἡρακλείδου Ἤλεϊος, κωμῳδός at the Soteria at Delphi in 
272 B. c., SGDI. 2563, 1. 50. 

218. Ἡράκλειτος Δίωνος ᾿Αργεῖος, τραγῳδός at the Soteria at Delphi in 
272 8. c., SGDI. 2563, 1. 39, and in 269 8. c., 2566, 1. 51, where the text 
gives Ἡράκλειτος Δίωνος ᾿Αθηναῖος. On the ethnicon see Preuner Delph. 
Weihgeschenk, p. 76. Identified by Wilhelm, p. 140, with “Hpdx|Aeros—], 
victor at the Lenaea ca. 278 8. c., IG. II 977 q(d’), (No. 213), assigned by 
Reisch to the Lenaean list of tragic actors, Z6G. 1907, p. 306. Hera- 
cleitus is third in the company at Delphi in 272 and second in 269; cf. 
Nos. 124, 406. Kirchner No. 6492. 

219. Ἡράκλειτος MnvoSépov Μαλλώτης, ὑ. τ., victor at the Romaea 
at Magnesia Maeandr. middle of the second century B.c., acting in 
a play of Glaucon in the contest of new tragedies. Kern Inschr. v. 
Magn. 880. 

220. Ἡράκλειτος Ἡρακλείτου, Athenian, τραγῳδός at Delphi as represent- 
ative of the Athenian guild of technitae in 106 B. c., BCH. XXX (1906), 
No. 50, p. 288, 1. 32; identical with Ἡράκλειτος Ηρακλείτου, πυθαιστὴς παῖς 
in 138 8. c., ibid., p. 198, 1.112 Not in Kirchner. 


100 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


222. “Ἡρόδοτος Μενάνδρου Τ[ημ]νίτης, as τραγῳδός victor at the Homoloia 
at Orchomenus 100-75 Β. c., 1G. VIT 3196. Reisch De mus. cert., p. 117, 
gives Βοιώτης. 

223. Ἡ ρόστρατος, κωμῳδός at the Dionysia at Delos in 171 8. c., BCH. 
TX (1885), p. 147; probably also 1728. c. ibid. VIT (1883), p. 120, [Ἢ ρόστρ α- 
[ros], Capps TAPA. XXXT (1900), p. 122. 

224. ἩἩρόστρατος Λεωνίδα, Athenian, κωμῳδός at Delphi as representative 
of the Athenian guild of technitae in 106 B. c., BCH. XXX (1906), No. 50, 
p. 288, 1. 30. Not in Kirchner. 


225. Θαρσύνων, κωμῳδός at the Dionysia at Delos in 171 Β. c., BCH. IX 
(1885), p. 147; also in 172 8. c., ibid. VII (1883), p. 120, where ΘΛ. SYN. 
is to be restored Θαΐ ] σύν ὧν] with Capps TAPA. XXXI (1900), p. 222. 
Possibly to be restored in IG. II 975 7, 210-187 Β. c., | @apavv ων, see No. 552. 

226. O«—, ὕ. τ, victor at the Dionysia ca. 398 8. c., IG. 11 977 ple’), 
W. p. 187. The date precludes the restoration Θεΐτταλός-} but strongly 
favors @¢ ddwpos-|, No. 230; οἵ, Wilhelm, p. 187, and Kaibel Urk., p. 188. 

227. Θεμίστων Πάριος, rpaywdds at the Dionysia at Delos in 282 B. c. and 
280 Β. c., BCH. VII (1883), pp. 105, 106. In the former Hauvette-Besnault 
reports on the stone @e . . . rwvos Πάριος, Robinson AJP. XXV (1904), 
p. 186, Θεμίστωνος Πάριος; the graver’s error was corrected by Wilhelm in 
Michel, p. 949 (on No. 903), by reference to Θεμίστων, τραγῳδός in the list 
for 280. 

228. Θεόδοτος Βασιλείδου, Athenian, comic synagonist, representing the 
Athenian guild of technitae at Delphi ca. 97 Β. ο., BCH. XXX (1906), 
No. 49, p. 278, 1.34. Cf. Basileides 5. Poseidonius, comic poet ibid., p. 272, 
ll. 16, 29, ca. 128 Β. c. Not in Kirchner. 

229. Θεόδοτος IvOlwvos ᾿Αθηναῖος, tragic synagonist representing the 
Athenian guild of technitae at Delphi ca. 97 8. c., BCH. XXX (1906), 
No. 49, p. 278, 1. 37 (ethnicon not given); participated also in the paean, 
ibid., 1. 26. As rhapsode Θεόδοτος Πυθίωνος ᾿Αθηναῖος was victor at the 
Musaea at Thespiae 100-75 Β. c., IG. VII 1760, BCH, XIX (1895), No. 13, 
p. 339. Kirchner No, 6782. 

230. Θεόδωρος ᾿Αθηναῖος, ὑ. τι. one of the famous actors of the fourth 
century, counted by Plut. Mor. 348f among the glories of Athens: 
τραγικοὶ δ᾽ αὐτοῖς (i. &., the great poets) ὑποκριταὶ καὶ Νικόστρατοι καὶ Καλ- 
λιππιδαι καὶ Μυννίσκοι καὶ Θεόδωροι καὶ Πῶλοι συνίτωσαν, ὥσπερ γυναικὸς πολυ- 
τελοῦς τῆς τραγῳδίας κομμωταὶ καὶ διφροφόροι, μᾶλλον δ᾽ ὡς ἀγαλμάτων ἐγκαυσταὲὶ 
καὶ χρυσωταὶ καὶ βαφεῖς παρακολουθοῦντες. His date is fixed approximately 
by the Victors’-list IG, II 977 t(0), W. p. 145, where he is credited with 
four Lenaean victories of which the first was won 380-75 Β. ο. In the 
City list frag. p(e’), W. p. 187, it has been proposed (by Kaibel Urk., p. 188, 
cf. Wilhelm, p. 138), to restore his name @¢ όδωρος-}, implying a first vie- 
tory ca, 300; the restoration and identification with the great Theodorus 

















PROSOPOGRAPHIA HISTRIONUM GRAROORUM 101 


seem very plausible. That he was an Athenian is shown by an entry in 
the accounts of the Delphic hieropoioi of the year 363 B.c., BCH. XXVIT 
(1903), p. 13: Θεόδωρος ᾿Αθηναῖος ὑποκριτὰς δραχμὰς ἑβδεμήκοντα. Wilhelm, 
p. 250, rightly identifies this actor with the great tragic actor, whose con- 
tribution is notably large and shows that he was at the height of his career. 
With these dates other facts of his life are in harmony; between 369 and 
359 he appeared before Alexander at Pherae, playing the part of Merope 
in Euripides’ Kresphontes, Ael. Var. hist. 14. 40: Θεοδώρου δὲ τοῦ τῆς τραγῳ- 
δίας ὑποκριτοῦ (ποιητοῦ MSS) ὑποκρινομένου τὴν Μερόπην σφόδρα ἐμπαθῶς, 
ὃ δὲ ἐς δάκρυα ἐξέπεσεν, εἶτα ἐξανέστη τοῦ θεάτρου. ἀπολογούμενος δὲ ἔλεγε τῷ 
Θεοδώρῳ ὡς οὐ καταφρονήσας οὐδὲ ἀτιμάσας αὐτὸν ᾧχετο. ἀλλ᾽ αἰδούμενος εἰ τὰ 
μὲν τῶν ὑποκριτῶν πάθη οἷός τε ἢν ἐλεεῖν, τὰ δὲ τῶν ἑαυτοῦ πολιτῶν οὐχί. 
Wrongly called ποιητὴς τραγῳδίας also by Diog. Laert. 2. 104, probably 
misled, as Vélker, p. 193, conjectures, by tpaywdes. Cf. Hesych. 5. πελε- 
θοβάψ: Θεόδωρος ὃ τραγικὸς ὑποκριτὴς οὕτως ἐπεκαλεῖτο. τινὲς δὲ ποιητὴν αὐτόν 
φασι γεγόνεναι. The origin of the epithet is unknown. The story about 
Alexander of Pherae is related also by Plut. Mor. 334 a, but without the 
actor’s name and with the rdle of Hecabe or Polyxena in Euripides’ 
Hekabe: θεώμενος τραγῳδὸν ἐμπαθέστερον ὑφ᾽ ἡδονῆς διέτέθη πρὸς τὸν οἶκτον. 
ἀναπηδήσας οὖν ἐκ τοῦ θεάτρου θᾶττον ἢ βάδην ἀπήει, δεινὸν εἶναι λέγων, εἰ 
τοσούτους ἀποσφάττων πολίτας ὀφθήσεται τοῖς Ἑκάβης καὶ ΠΠολυξένης πάθεσιν 
ἐπιδακρύων. οὗτος μὲν οὖν μικροῦ καὶ δίκην ἐπράξατο τὸν τραγῳδόν, ὅτι τὴν 
ψυχὴν αὐτοῦ καθάπερ σίδηρον ἐμάλαξεν, and also in Vit. Pelopid. 29, where 
the rdles of Hecabe and Andromache are mentioned: τραγῳδὸν δέ ποτε 
θεώμενος Εὐριπίδου Τρῳάδας ὑποκρινόμενον . . . . εἰ μηδένα πώποτε τῶν ὑπ᾽ αὐτοῦ 
φονευομένων ἠλεηκὼς ἐπὶ τοῖς “ExaBys καὶ ᾿Ανδρομάχης κακοῖς ὀφθήσεται δακρύων. 
Dem. 19. 246 (quoted under No, 62) states that while Aristodemus and 
Theodorus, οἷς οὗτος (i. e., Aeschines) τὰ τρίτα λέγων διετέλεσεν, did not play 
Euripides’ Phoinix, they often played Sophocles’ Antigone. Since the 
title-réle in Eur. Oinomaos was taken by Aeschines and Aeschines was 
constantly associated with Theodorus, Rees So-called Rule of Three 
Actors, p. 54, n. 3, plausibly suggests that Theodorus took the part of 
Hippodameia in this play. We know of no male parts which he sus- 
tained. (Rees’ reference ibid. to Aesch. 2. 52 is an error.) That he 
played also the Elektra may possibly be inferred from Plut. Mor. 7376: 
ἐμνήσθη τε Kai τῆς Θεοδώρου Tod τραγῳδοῦ γυναικὸς οὐ προσδεξαμένης αὐτὸν ἐν 
τῷ συγκαθεύδειν, ὑπογύου τοῦ ἀγῶνος ὄντος: ἐπεὶ δὲ νικήσας εἰσῆλθε πρὸς αὐτήν, 
ἀσπασαμένης καὶ εἰπούσης “᾿Αγαμέμνονος παῖ, νῦν ἐκεῖν᾽ ἔξεστί oor’ (Soph. 
Elec. 2). Arist. Rhet. 3 1404 ὃ 22 praises his voice: καὶ μὴ δοκεῖν λέγειν 
πεπλασμένως ἀλλὰ πεφυκότως . . . . οἷον ἡ Θεοδώρου φωνὴ πέπονθε πρὸς THY TOV 
ἄλλων ὑποκριτῶν: ἣ μὲν γὰρ τοῦ λέγοντος ἔοικεν εἶναι, αἱ δ᾽ ἀλλότριαι. It is 
probably the actor Theodorus whose skill in imitating the sound of ἃ 
windlass is commented upon by Plut. Mor. 186: ὥσπερ yap tos βοὴν καὶ 
ψόφον τροχιλίας Kal πνευμάτων ῥοῖζον καὶ θαλάττης κτύπον ἀκούοντες ἐνοχλούμεθα 


102 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


καὶ δυσχεραίνομεν, ἂν δέ τις πιθανῶς ταῦτα μιμῆται. καθάπερ Παρμένων τὴν ὗν 
καὶ Θεόδωρος τὰς τροχιλίας, ἡδόμεθα. The comic poet Ephippus seems to 
refer to him in the play Homoioi apud Ath. 482d: Διονυσίου δὲ δράματ᾽ 
ἐκμαθεῖν δέοι, καὶ Δημοφῶντος, ἅττ᾽ ἐποίησεν εἰς Κότυν, | ῥήσεις τε κατὰ δεῖπνον 
Θεύδωρός μοι λέγοι. cf. Kock IT, p. 260, note. Aristotle records that Theo- 
dorus insisted on always appearing before the spectators before any of 
the other actors, Pol. 4(7) 17 13366 28: ἴσως yap οὐ κακῶς ἔλεγε τὸ τοιοῦτον 
Θεόδωρος ὁ τῆς τραγῳδίας ὑποκριτής" οὐδενὶ yap πώποτε παρῆκεν ἑαυτοῦ προεισάγειν, 
οὐδὲ τῶν εὐτελῶν ὑποκριτῶν. ὡς οἰκειουμένων τῶν θεάτρων ταῖς πρώταις ἀκοαῖς" 
The only rational explanation is that of Liiders Dion. Kiinstler, p. 57, 
Volker, p. 195, and others, that he took the role of the character that 
appeared first. upon the scene. The other explanation, which has been 
favored by many and by Rees So-called Rule of Three Actors, p. 67, that 
he so altered the text of his play that he should appear first, seems 
improbable. Pausanias 1. 37. 3 speaks of his tomb on the Sacred Way: 
πρὶν δὲ ἢ διαβῆναι τὸν Κηφισόν, Θεοδώρου μνῆμά ἐστι τραγῳδίαν ὑποκριναμένου 
τῶν καθ᾽ αὑτὸν ἄριστα. The remark of a Theodorus quoted by Arist. Rhet. 
3. 11 14124 34 may be that of the actor: μεταστρέφει ὄνομα. οἷον τὸ Θεοδώρου 
εἰς Νίκωνα τὸν κιθαρῳδὸν ᾿θράττ᾽ εἶ" προσποιεῖται yap λέγειν τὸ * θράττει᾽ καὶ 
ἐξαπατᾷ: ἄλλο γὰρ λέγει. On Theodorus see Schiifer Dem. u. 5. Zeit. P, 
p. 241. Not in Kirchner. 

231. Θεόδωρος Μεγαρεύς, tpaywdds at the Dionysia at Delos in 284 and 
282 B. c., BCH. VII (1883), pp. 104, 105. He appears also in the lists for 
268 and 263 B. οἷς ibid. pp. 109, 112, but simply as Θεόδωρος. 

232. Θεόδωρος, κωμῳδός, ca. 180-150 5... inse. lasos, Lebas- Wad. ΠῚ 256: 
‘Exaraios ᾿Αθηνοδώρου Στρατονικεὺς χορηγήσας πρότερον (ἐπέδωκε) Θεόδωρον 
κωμῳδόν, καὶ εὗρεν ἡ πάροδος δραχμήν, ἡ δὲ θέα ἐγένετο δωρεάν. ᾿Απολλώνιος 
Φανοκρίτου χορηγήσας πρότερον Θεόδωρον κωμῳδόν, ete. 

233. Θεόδωρος, κωμῳδός at the Dionysia at Delos in 172 Β. ο.. BCH. VII 
(1883), p. 120, where Paris reports -μωι καὶ Θεόδωρος, corrected by Brinck 
Diss. Hal. VII, p. 204, to κωμωιδοί. 

234. Θεόδωρος Θεοδώρον, Athenian, comic synagonist at Delphi repre- 
senting the Athenian guild of technitae ca. 97 B. c., BCH. XXX (1906), 
No. 49, p. 278, ]. 84. 

235. Θεόπομπος Σωκράτους ᾿Αχαιὸς ἀπὸ Σικυῶνος, as ὑ, παλαιᾶς κωμῳδίας 
victor at the Musaea at Thespiae 167-146 B. o., ΒΟΉ. XIX (1895), No. 11, 
p. 337, where only the ethnicon is preserved. The name is restored by 
Jamet by reference to ibid., No. 10, p. 336, where Theopompus is priest 
of the technitae. 

236. Θεόφιλος, apparently a comic actor in a play by Heracleides, latter 
half of the fourth century B. c., IG. IT 9746, W. p. 42, assigned by Reisch 
ZG, 1907, p. 299, to the Lenaea, Wilhelm, p. 42, needlessly suggests 
his identity with the comic poet who was victor at the Dionysia in 329 
B. 6.) IG, IL. 971A. 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 103 


237. Θεόφιλος Δωροθέου Kpwridys, comic synagonist representing the 
Athenian guild of technitae at Delphi in 106 8. c., BCH. XXX (1906), 
No. 50, p. 288, 1. 31. The name is restored from ibid. No. 49, p. 278, 1. 28 
( Δωροθέου, singer of the paean), and the demoticon from A. @. Kpwzidys, 
ephebe in 105 8. ο., Τα. II 465, 1. 70; see No. 557. 

238. Θεόφραστος ὁ Εἰὐφόρου Τρύφων Λαοδικεύς, κωμῳδός, mover of a decree 
of the holy synod, consulship of M. Squilla Gallicanus and T. Atilius 
Rufus Titianus, 127 a. p., inser. Aphrodisias, Lebas-Wad. III, 1619: 


εἰσηγησαμένου Θεοφράστου τοῦ Εὐφόρου Τρύφωνος κωμῳδοῦ Aaodixews . 





ἀγωνοθετοῦντος Θεοφράστου τοῦ Εὐφόρου Τρύφωνος τοῦ καλουμένου Θεοφράστου 
᾿Ωρείωνος Λαοδικέως κωμῳδοῦ, etc. 

239. Θετταλός, v. τ., Victor at the Dionysia in 347 Β. ο., IG. IT 9116. W. 
p- 25, and in 341, ibid. gh, W. p. 28, recorded also in the Didascaliae IG. 
II. 973. Twice victor at the Lenaea ca. 356 B. c., 1G. IT 977 t(o), W. p. 145. 
Since he was active as late as 324, his name is not to be restored in the 
Dionysian Victors’-list IG. II 977 p(e’), W. p. 187, @e- (No. 226); the posi- 
tion implies a date ca. 390 for the first victory. In 341 3. o, he acted the 
Achilles of Astydamas, the Achilles of Euaretus, and the Augé of 
Aphareus; in 340 the Parthenopaios of Astydamas, to whose notable 
success he doubtless contributed greatly, the Phryxos of (probably) 
Philocles, and the Alkmeon of Euaretus, and was awarded the prize, IG. 
II. 973. He stood high in the favor and confidence of Alexander. Ca. 
338 B.c. he went as his emissary to Caria to arrange the marriage of 
Cleopatra, daughter of the satrap Pixodarus, with himself instead of with 
Arrhidaeus, Plut. Vit. Alex. 10: διαταραχθεὶς πέμπει Θεσσαλὸν εἰς Καρίαν τὸν 
τῶν τραγῳδιῶν ὑποκριτὴν Πιξοδάρῳ διαλεξόμενον, ὡς χρὴ τὸν νόθον ἐάσαντα καὶ 
οὐ φρενήρη μεθαρμόσασθαι τὸ κῆδος εἰς ᾿Αλέξανδρον. Philip was incensed at 
this act and visited his displeasure upon Thettalus, ibid.: τὸν δὲ Θεσσαλὸν 
ἔγραψε Κορινθίοις ὅπως ἀναπέμψωσιν ἐν πέδαις δεδεμένον. Thettalus was prob- 
ably then acting at Corinth. He took part in the games at Tyre in 332 
B. C., in Which Athenodorus was victorious over him, to the great disap- 
pointment of Alexander, Plut. Vit. Alex. 29 and Mor. 334 d e (quoted 
under No. 13). He participated also in Alexander’s marriage festival at 
Susa in 324 B. c., Chares apud Ath. 538 f (quoted under No. 18). 

240. Θηραμένης “Ayvwvos Στειριεύς, wrongly called an actor by schol. ad 
Arist. Ran. 541: στρατηγὸς δὲ καὶ ὑποκριτὴς εὐμετάβλητος. The error is due, 
as Volker, p. 163, suggests, to the epithet ‘Cothurnus.’ Kirchner No. 7234. 

241. Θηραμένης, v. τ.. Victor at the Lenaea ca. 292 8. c., IG. 11 977 w(b’), 
W. p. 145. 

242. Θόας Νουμηνίου, Athenian, comic synagonist at Delphi represent- 
ing the Athenian guild of technitae ca. 97 B. o., BCH. XXX (1906), No. 
49, p. 278, 1. 35. Not in Kirchner. 

243. Θρασύβουλος, ὗ. 7., once victor at the Lenaea ca. 388 B. c., IG. 11 
977s, W. p. 145. 


104 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


244. Θρασύβουλος Λήναια ἑνίκα Ei{—, — ὑποκρινόμενος, apparently the 
record of a tragic actor, IG. XIT i 125, see Wilhelm, pp. 206, 160. Uncer- 
tain date, but probably late. 

245. Θυμοτέλης Φιλοκλέος, Athenian, tragic poet representing the Athe- 
nian guild of technitae at Delphi in 138 s.c., 1G. IT 551 ὃ, ll, 45, 72, Michel 
1009; another copy BCH. XXIV (1900), p. 86. The same person in the 
Delphic decree BCH. XXX (1906), p. 273, 1. 26, is apparently entered as 
κωμῳδός, 138-128 B.c.; but the inscription is badly broken at this point. 

246. Θύρσος Κρίτωνος ᾿Εφέσιος, comic didascalus at the Soteria at Delphi 
in 269 5... SGDI. 2566, |. 64. In the year 271 he had appeared at the 
Soteria as χορευτὴς κωμικός, ibid. 1564, 1. 78. 


247. ᾿Ιάσων Τραλλιανός, ὑ. τ., floruit 53 B.c., Plut. Crass. 33: τῆς δὲ 
κεφαλῆς τοῦ Κράσσου κομισθείσης ἐπὶ θύρας. ἀπηρμέναι μὲν ἦσαν ai τράπεζαι. 
τραγῳδιῶν δὲ ὑποκριτὴς ᾿Ιάσων ὄνομα Τραλλιανὸς ἦδεν Εὐριπίδου Βακχῶν τὰ περὶ 
τὴν ᾿Αγαύην. εὐδοκιμοῦντος δ᾽ αὐτοῦ Σιλλάκης ἐπιστὰς τῷ ἀνδρῶνι καὶ προσκυ- 
νήσας προὔβαλεν εἰς μέσον τοῦ Κράσσου τὴν κεφαλήν. κρότον δὲ τῶν Πάρθων 
μετὰ κραυγῆς καὶ χαρᾶς ἀραμένων, τὸν μὲν Σιλλάκην κατέκλιναν οἱ ὑπηρέται 
βασιλέως κελεύσαντος ὁ δ᾽ ᾿Ιάσων τὰ μὲν τοῦ Πενθέως σκευοποιήματα παρέδωκέ 
τινι τῶν χορευτῶν, τῆς δὲ τοῦ Κράσσου κεφαλῆς λαβόμενος καὶ ἀνα βακχεύσας 
ἐπέραινεν ἐκεῖνα τὰ μέλη per’ ἐνθουσιασμοῦ καὶ ὠδῆς - “ φέρομεν ἐξ ὄρεος ἕλικα 
νεότομον ἐπὶ μέλαθρα, | μακαρίαν θήραν." Polyaenus 7. 41, relating this 
anecdote, adds that the king gave Jason τῷ τραγῳδῷ a talent. 

248. Ἱεροκλείδης ᾿Αθηναῖος, κωμῳδός at the Dionysia at Delos in 259 8.c., 
BCH. VII (1883), p. 113, 1.19. So Capps TAPA. XXXI (1900), p. 119, 
for . . os Ἱεροκλέϊ ους ᾿Αθηναῖος, reported by Hauvette-Besnault; the cor- 
rection is confirmed by Robinson AJP. XXV (1904), p. 190, who reports 
‘lepoxAe/|. . .]. The identification proposed by Roussel BCH. XX XT (1907), 
p. 347 [Νικόμαχ]ος ‘TepoxA€[ous] ᾿Αθηναῖος is therefore wrong. Not in 
Kirchner. 

249, Ἱεροκλῆς Nikwvos ᾿Αθηναῖος, tragic didascalus at the Soteria at 
Delphi in 271 and 270 s. ., SGDI. 2564, |. 54, 2565, 1.51. Kirchner No. 7480. 

250. Ἱεροκλῆς Ἱεροκλήους φύσει δὲ Φιλώτου Τραλλιανός, as ὑ. κωμῳδιῶν 
victor at the Romaea at Magnesia ca. beginning of the first century B.c., 
Kern Inschr. v. Magn. ΒΒ αἰ. 

251. ἹἹερομνήμων EvavopliSov Κυδαθηναιεύς, ὑ. τραγῳδοῖς, victor at the 
Lenaea in 3068.¢., IG. IT 1289, first assigned to the Lenaea by Capps 
AJA. IV (1900), p. 76; restoration [Ἱερομνήμων by Wilhelm Urk., p. 210, 
who identifies with ‘lepoy»| ἥμων-]}, thrice victor at the Lenaea ca, 325 B. c., 
IG. I 977 u(z), W. p. 145. The victory of 306 was probably his last. 
Not in Kirchner; but ef. No. 5273. 

22. ἹἹερότιμος ᾿Ιεροκλέους Τεγεάτης, κωμῳδός at the Soteria at Delphi in 
269 5, αι, SGDI. 2566, 1. 60, Michel 895, Ditt. Syl.2 691. He is mentioned 
first in his company. 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 105 


253. Ἱέρων ‘Iépwvos, Athenian, tpaywdds at Delphi as representative of 
the Athenian guild of technitae in 1068.¢0., BCH. XXX (1906), No. 50, 
p. 288, 1.31. Not in Kirchner, but cf. No. 7544 Ἱέρων Ἱέρωνος Παλληγνεύς, 
ephebe in 119 8.0., probably the same person. 

254. Ἱερώνυμος, ὑ. x., four times victor at the Lenaea ca. 295 8B. 0., IG. 
II 977 y(u), W. p. 153. Victor at the Lenaea in 289 8.c., IG. II 972, 1. 9, 
W. p. 52, [ὑπο: Ἱερώνυμος ἐνίκαᾳ. Restoration due to Capps AJA. IV 
(1900), pp. 75 ff., who first gave the correct dating of this inscription and 
ibid., p. 81, and AJP. XX (1899), p. 403, identified him with the actor in 
977 y. As κωμῳδός he appeared at the Dionysia at Delos in 280.8.c., 
BCH. VII (1883), p. 106, and in 2688. ο., ibid., p. 109, where Ἱέρωνος, 
reported by Hauvette-Basnault is to be corrected to Ἱερώνυμος, as seen 
by Capps TAPA. XXXT (1900), p. 119, and later confirmed by Robinson 
AJP. XXIV (1904), p. 189. Gravestone with garland of ivy and inscrip- 
tion Ἱερώνυμος plausibly referred to this actor by Wilhelm, p. 59. 

255. Téios ᾿Ιούλιος Ἰουλιανός, τραγῳδός, honored by his city in a decree 
found near Sparta, CIG. I 1420: ἡ πόλιϊς ἡ Σ)]μυρναίων (Lebas) Ἰούλιον 
᾿Ιουλιανὸν τὸν ἴδιον πολείτην νεικήσαντα Tpaywdors Οὐρανιάδα (Lebas) γ΄, καὶ 
Πύθια καὶ ΓΑ κτια καὶ κοινὰ ᾿Ασίας III (Lebas) καὶ τοὺς λοιποὺς ἀγῶνας πεντα- 
ετηρικούς τε καὶ τριετηρικοὺς Tu (Lebas), πολειτευθέντα δὲ ἐν ὅλῃ τῇ Ἑλλάδι 
καὶ Μακεδονίᾳ καὶ Θεσσαλίᾳ .. .. καὶ Κρήτων. Lebas 1Π179α. 

256. Ἵππαρχος, ὕ. τ., Athenian, six times victor at the Lenaea ca. 
370 5. c., IG. II 977 ἐ(ο), identified by Dittenberger Syl.? 723, n. 64, with 
Ἵππαρχος ᾿Αθμονεύς, the lover of Neaera, οἵ. [Dem.] lix 26: μετὰ ταῦτα τοί- 
νυν ἐν τῇ Κορίνθῳ αὐτῆς ἐπιφανῶς ἐργαζομένης καὶ οὔσης λαμπρᾶς, ἄλλοι τε 
ἐρασταὶ γίγνονται καὶ Ἐενοκλείδης ὁ ποιητὴς καὶ Ἵππαρχος ὃ ὑποκριτής, καὶ εἶχον 
αὐτὴν μεμισθωμένοι. Cf, Ath. 5957, Harp. 5. Ἵππαρχος and Suidas 5. 
Ἵππαρχος. all of whom draw from the oration against Neaera. Kirchner 
No. 7599. 

257. Ἵππαρχος ᾿Αρκάς, κωμῳδός at the Dionysia at Delos in 268 8. c. 
BCH. Π 889 τ eo apxos Hauvette-Besnault, 11 ΙΓΑΡΧΟΞ 
Robinson AJP. XXI (1904), p. 190. 

258. Ἵππασος ᾿Αμβρακιώτης, the name of a tragic actor in Alciphron 
Ep. 3. 12 (Schepers 3. 48): κακὸς κακῶς ἀπόλοιτο καὶ ἄφωνος εἴη Λικύμνιος ὃ 
τῆς τραγῳδίας ὑποκριτής. ὡς γὰρ ἐνίκα τοὺς ἀντιτέχνους Κριτίαν τὸν Κλεωναῖον 
καὶ Ἵππασον τὸν ᾿Αμβρακιώτην τοὺς Αἰσχύλου Προπομποὺς τορῷ τινι καὶ yeyo- 
νοτέρῳ φωνήματι χρησάμενος, γαῦρος ἢν καὶ κιττοστεφὴς ἦγε συμπόσιον. The 
names are probably fictitious; certainly no prize was offered at Athens 
for the tpaywdo/ who brought out old plays. 

259. Ἱπποκλῆς Κίλιξ, ὕ. τ. or ὕ. κι. fourth century B.c., Alexis apud Ath. 
125 ὃ (Kock II. 312): 6 δὲ Κίλιξ ὅδ᾽ Ἱπποκλῆς, 6 ζωμοτάριχος ὑποκριτής. 

260. Ἱπποκράτης ᾿Αριστομένους Ῥόδιος, aS τραγῳδός victor at the Chari- 
tesia at Orchomenus 100-75 z,c., IG. VII 3197, and at the Homoloia at 
Orchomenus, ibid. 


100 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


261. Ἴρανος Φρυνίδου Tavaypaios, aS κωμῳδός victor at the Amphiaraia 
at Oropus soon after 86 8. c., IG. VII 416; victor at the Sarapieia 
at Tanagra 100-75, IG. VII 542 and 543, as rpaywdds in the latter: 
tpaywoors | Eipavos Ppuvidov Tavaypaios. Cf. Reisch De mus. cert., p. 129. 

262. Ἰσοκράτης, ὑ. 7., Once victor at the Lenaea ca. 270 Β.ο.. IG. I 
977 g(a’), W. p. 141, assigned to the Lenaea by Reisch Z6G. (1906), p. 306. 
[ἸσοἸ]κράτης is due to Wilhelm, Kohler [Sw|xparys. 

263. Ἰσύλος Χρυσολάον Βοσπορίτης, tragic didascalus at the Soteria 
at Delphi in 272 zB, c., SGDI. 2563, 1. 42, where Baunack gives ’A Ἰσύλος 
or Ἰ]σύλος. but see Preuner Delph. Weihgeschenk, p. 74, in favor of 
I|ovAos, cf. the paean of Isyllus Epid. 1. 62, dy’ ὁ παῖς ἐκ Βοσπόρου ἦλθεν. 

264. Ἴσχανδρος, i. r., apparently the son of Neoptolemus of Skyros, 
the famous tragic actor of the time of Demosthenes. Dem. 19. 10: καὶ 
ἔχων (i. e., Aeschines) Ἴσχανδρον τὸν Νεοπτολέμου δευτεραγωνιστήν, προσιὼν 
μὲν τῇ βουλῇ. ete. The scholiast understands “deuteragonist” here in 
the metaphorical sense: παρέχεται μὲν τοῖς Αἰσχίνου λόγοις ἡ μαρτυρία: οὐκ 
ἀπήλλακται δὲ καὶ σκώμματος, ὑποκριτὴν γὰρ ἔχει τὸν συναγωνιζόμενον, i. &., 
Aeschines’ political “synagonist” happened to be, like Aeschines him- 
self, an actor. The interpretation of Demosthenes is much disputed, and 
all we know of Ischandrus is derived from Demosthenes. Rees The So- 
called Rule of Three Actors (Chicago, 1908), pp. 33 ff. shows that 
Ischandrus is the only person ever referred to as a “deuteragonist,” that 
nowhere in Greek literature does the word bear the meaning of “actor of 
second parts” or “second actor in a company,” but always “helper” or 
“assistant.” It is therefore best to interpret it here as the scholiast does 
and many modern scholars; for the opposing view see Volker, p. 200. 
The statement of Demochares apud Vit. Aesch., p. 269 West., is based 
upon a misconstruction of Dem. 19. 10: Δημοχάρης & ...., εἰ dpa 
πιστευτέον αὐτῷ λέγοντι περὶ Αἰσχίνου. φησὶν ᾿Ισχάνδρου τοῦ τραγῳδὶ οποι οὗ τρι- 
ταγωνιστὴν γενέσθαι τὸν Αἰσχίνην, ete., i. e., since Ischandrus was “deuter- 
agonist” to Aeschines, the latter must have been “tritagonist” to him! 
The narrative which Demochares goes on to give (quoted under No. 15) 
of the accident which befell Aeschines at a performance at Collytus, 
where Ischandrus was deuteragonist and Aeschines tritagonist, was not 
credited by the author of the Vita and should not have been accepted by 
Schéfer Dem. τι. s. Zeit Τ᾽, p. 248, and others. Harpocration 5. Ἴσχανδρος 
is merely a jumble of Demochares: τραγικὸς ὑποκριτὴς ὁ σχανδρός ἐστι" 
δοκεῖ δ᾽ αὐτῷ συνυποκρινόμενος Αἰσχίνης ὁ ῥήτωρ ἐν Κολλυτῷ καταπεσεῖν, καθά 
φησι Δημοχάρης ἐν τοῖς Διαλόγοις. Ischandrus had friends in Arcadia, 
where no doubt he had given performances, and was brought by 
Aeschines before the Athenian senate and ecclesia to present certain 
political proposals from them, Dem. 19. 3083. 

264 a. Ka-, tragic actor or poet, uncertain date, CIG. 3088 (Teos), 
τραγῳδίας | Ka-. 





PROSOPOGRAPHIA HISTRIONUM GRAECORUM 107 


265. Ka-, i. κι» acted a play by Lampytus at the Dionysia in 167 B.c., 
IG. II 975 c, 1. 24, W. p. 76. To be restored: either Καἰ[βείριχος], 
Καἰζλλικράτης), or Καζλλίστρατος ]. 

266. Καβείριχος, ὑ. x., acted the Lytroumenos of Epigenes at the 
Dionysia in 158 B.c., IG. 11 975d, W. p. 77; probably acted also in 167 
B. 0., ibid., frag. c, 1. 24, ὑπε Καί βείριχος]. See No. 265. 

267. KaBipixos Θεοδώρου Θηβαῖος, as ὑ. τραγῳδιῶν acted a play by Soph- 
ocles 5. Sophocles at the Charitesia at Orchomenus 100-75 8. c., IG. 
VII 3197. Wrongly identified with preceding by Kohler Ath. Mitt. IIT 
(1878), p. 122, as shown by Reisch De mus. cert., p. 119, n. 6; ef. Dit- 
_ tenberger Syl. 698. 

268. Kadd—, ὑ. κι, acted a play by Alexis IG. II 9140, W. p. 41, 
probably at the Lenaea, cf. Reisch Z6G. 1907, p. 299. Either Καλλ[ώ- 
tpatos| or Κάλλιππος may be restored, see Nos. 280 and 275. 

269. Καλλίας, v. κι,» thrice victor at the Lenaea ca. 262 8, c., IG. II 977 
y(w), ΝΥ. p. 158. Related to the family of Callippus, possibly the son of 
Callippus (2) and brother of Callippus (3); ef. Wilhelm, pp. 44, 153. Of 
the same family Callias 5. Callippus, tit. sep. IG. IT 3819? 

270. Καλλικλῆς, ὑ. 7., thrice victor at the Lenaea ca. 275 8. c., IG. II 
977 q(d’), which is assigned by Reisch to the Lenaea Z6G. 1907, p. 306. 
Identified by Wilhelm, p. 140, with Καλλικλῆς Νικοστράτου Βοιώτιος, 
probably a tragic actor, in a Delian inscription of 236 8.c. Doubtful. 

271. Καλλικλῆς Σάωνος Βοιώτιος, comic didascalus at the Soteria at 
Delphi in 270 8. c., SGDI. 2565, 1. 66. 

272. Καλλικράτης, ὕ. x., acted the Traumatia of Philocles and the 
Synkrypton of Timoxenus at the Dionysia in 155 B.o., IG. II 975 d, 
W. p. 77; may be also the Ka- of frag. c, 1. 24, 167 B.c. Wilhelm, 
p- 256, identifies with Callicrates 5. Aristocles, singer of the paean at 
Delphi ca. 138-128 5. σ. (BCH. XXX, 1906, No. 48, p. 272, 1. 10), whose 
son, Callicrates 5. Callicrates, was κωμῳδός ca. 97 B.c., in which case he 
was an Athenian; but this is very doubtful; see No. 273. 

273. Καλλικράτης Καλλικράτου, Athenian, κωμῳδός at Delphi represent- 
ing the Athenian guild of technitae ca. 97 B.c., BCH. XXX (1906), No. 
49, p. 278, 1. 33. Probably of the deme Krioa, cf. Καλλικράτης Καλλι- 
κράτου Κριωεύς. ephebe in 119 B.c., IG. IT 469, 1. 92, Kirchner No. 7971. 
Wilhelm, p. 256, suggests that he is the son of Callicrates s. Aristocles, 
singer of paean ibid., No. 48, p. 272, 1. 10, whom in turn he identifies 
with the preceding comic actor. Very doubtful. 

274. Καλλιππίδης, ὑ. 7., five times victor at the Lenaea ca. 427 B.c., 
IG. ΠῚ 977 r, W. p. 145, where [ΚαλλιππίἼ]δης Π is to be read with Reisch 
Z6G. 1907, p. 308, instead of Wilhelm’s [Ἢ ρακλείἼδης. In 418 he brought 
out two plays of Callistratus at the Lenaea and was victor, IG. II 972, 
W. p. 52: Καλλίστρατος [δεύ:] ᾿Αμφιλόχῳ “Tétol |, ime: Καλλιππίδης. ὑπο: 
Καλλιππί[δης ἐνίκα]. Said by Duris to have taken part in the welcome to 


108 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


Alcibiades on his return from exile, though the story is not credited by 
Plutarch, Vit. Ale. 32: ἃ δὲ Δοῦρις ὁ Σάμιος... . προστίθησι τούτοις, αὐλεῖν 
μὲν εἰρεσίαν τοῖς ἐλαύνουσι Χρυσόγονον τὸν Πυθιονίκην, κελεύειν δὲ Καλλιππίδην 
τὸν τῶν τραγῳδιῶν ὑποκριτήν, στατὸν καὶ ξυστίδα καὶ τὸν ἄλλον ἐναγώνιον 
ἀμπεχόμενον κόσμον, . . . . οὗτε Θεόπομπος οὔτ᾽ Ἔφορος οὔτε Χενοφῶν 
γέγραφεν, οὔτ᾽ εἰκὸς ἦν οὕτως ἐντρυφῆσαι τοῖς ᾿Αθηναίοις μετὰ φυγήν, ete., Ath. 
535d (Duris): Καλλιππέδης δ᾽ ὁ τραγῳδὸς ἐκέλευε τὴν ἀπὸ τῆς σκηνῆς στολὴν 
ἠμφιεσμένος. The story at least illustrates the fame of Callippides in 
after times. Istrus and Neanthes relate that Sophocles received from 
Callippides the grapes which caused his death, apud Vit. Soph. p. 129 
West.: τελευτῆσαι δ᾽ αὐτὸν Ἴστρος καὶ Νεάνθης φασὶ τοῦτον τὸν τρόπον᾽ 
Καλλιππίδην ὑποκριτὴν ἀπ᾽ ἐργασίας ἐξ ᾿Οποῦντος ἥκοντα παρὰ τοὺς Χόας 
πέμψαι αὐτῷ σταφυλήν, . . .. ἀποπνιγέντα τελευτῆσαι. [Luc.] Macrob. 24. 
This and the story told by Polyaenus show in what demand outside 
Athens the great actors were even in the v and iv centuries, Stratagem. 
6.10: ᾿Αλέξανδρος φρούραρχος τῶν περὶ τὴν Αἰολίδα χωρίων μισθωσάμενος TOY ἀπ᾽ 
Ἰωνίας τοὺς ἀρίστους ἀγωνιστάς, αὐλητὰς μὲν Θέρσανδρον καὶ Φιλόξενον. ὑπο- 
κριτὰς δὲ Καλλιππέδην καὶ Νικόστρατον, θέαν ἐπήγγειλε. πρὸς μὲν τὴν δόξαν 
τῶν ἀγωνιστῶν συνέδραμον ἐκ τῶν πλησίον πόλεων ἅπαντες. ἐπεὶ δὲ πλῆρες τὸ 
Oéarpov ἦν, περιστήσας τοὺς στρατιώτας καὶ τοὺς βαρβάρους μεθ᾽ ὧν ἐφρούρει τὰ 
χωρία, πάντας τοὺς θεατὰς συλλαβὼν .... τοὺς μὲν ἀπέλυσεν, αὐτὸς δὲ τὰ 
χωρία Θίβρωνι παραδοὺς ἀπηλλάγη. This event is to be dated before 392 
B. 0. With Vélker, p. 177, cf. Xen. Hell. 4. 8. 18. He is referred to ina 
role like that of Telephus by Aristophanes in Skenas katalamb. I 474 
Kock: ὡσπερεὶ Καλλιππίδης ἐπὶ τοῦ κορήματος καθέζομαι χαμαί, and the 
“Kallippides” of Strattis, Kock I, p. 714, seems to have been named 
after him. Was criticized by his elder contemporary Mynniscus for his 
excessive action, Arist. Poet. 26. 1461 b 34: ἡ μὲν οὖν τραγῳδία τοιαύτη 
ἐστίν, ὡς καὶ of πρότερον τοὺς ὑστέρους αὐτῶν ᾧοντο troxpitas, ὡς Alay yap 
ὑπερβάλλοντα ᾿πίθηκον᾽ ὁ Μυννίσκος τὸν Καλλιππίδην ἐκάλει, τοιαύτη δὲ δόξα 
καὶ περὶ Πινδάρου ἦν. Ibid. 1462 a 9, Aristotle records a criticism of him 
for the vulgarity of his female roles: dra οὐδὲ κίνησις ἅπασα ἀποδοκιμαστέα, 
εἴπερ μηδ᾽ ὄρχησις, ἀλλ᾽ ἡ φαύλων, ὅπερ καὶ Καλλιππίδῃ ἐπετιμᾶτο καὶ viv 
ἄλλοις, ὡς οὐκ ἐλευθέρας γυναῖκας μιμουμένων; cf. Ep. Soc., p. 620, Hercher. 
Could draw tears from his audience, Xen. Symp. 3. 11: σύγε μὴν δῆλον, ἔφη 
ὁ Λύκων πρὸς τὸν Φίλιππον, ὅτι ἐπὶ τῷ γελωτοποιεῖν μέγα φρονεῖς. δικαιότερον 
γ᾽, ἔφη: οἴομαι ἢ Καλλιππίδης ὁ ὑποκριτής, ὃς ὑπερσεμνύνεται ὅτι δύναται πολλοὺς 
κλαίοντας καθίζειν. His arrogance is illustrated by the story of his meeting 
with Agesilaus, Plut. Mor. 212 f (= Vit. Ages. 21): καί wore Καλλιππίδης 
ὁ τῶν τραγῳδιῶν ὑποκριτής, ὄνομα καὶ δόξαν ἔχων ἐν τοῖς Ἕλλησι καὶ σπουδαζό- 
μένος ὑπὸ πάντων, πρῶτον μὲν ἀπήντησεν αὐτῷ (Agesilaus) καὶ προσεῖπεν, 
ἔπειτα σοβαρῶς εἰς τοὺς συμπεριπατοῦντας ἐμβαλὼν ἑαυτὸν ἐπεδείκνυτο. νομίζων 
ἐκεῖνον ἄρξειν τινὸς φιλοφρονήσεως " τέλος δὲ εἶπεν" ᾿οὐκ ἐπιγιγνώσκεις με. ὦ 
βασιλεῦ, οὐδ᾽ ἤκουσας ὅστις εἰμ ὁ δ᾽ ᾿Αγησίλαος ἀποβλέψας εἰς αὐτὸν εἶπεν" 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 109 


“ἀλλ᾽ οὐ τύ ἐσσι Καλλιππίδας 6 δεικηλίκτας ;’ οὕτω δὲ Λακεδαιμόνιοι τοὺς μίμους 
καλοῦσι. Cf. Apost. 18. θ6: οὐ τύ ἐσσι, ete. Plut. Mor. 348 f speaks of him 
with Nicostratus, Mynniscus, Theodorus, and Polus as one of the glories 
of ancient Athens; see passage under Theodorus No. 230. Callippides 
and Nicostratus in tragedy and Lycon in comedy were considered un- 
approachable, cf. Philodemus De rhet. p. 197, 7 Sudhaus: Καλλιππί dys 
δ]ὲ καὶ Νεικόστρατος ἐγώ φήσί ὦ]; τὸ πᾶν ἐν τραγῳδίᾳ, Λύκων δ᾽ ἐν κωμῳδίᾳ. 
The Callippides spoken of by Cic. ad Att. 18. 12 and Suet. Vit. Tib. 38 is 
a mime and not the tragic actor; see Vélker, p. 183. On Callippides in 
general see Schneider ad Xen. Symp. 3. 11, and Volker, pp. 177 ff., who 
shows, p. 181, that Grysar De Graec. trag. qualis fuerit cire. temp. 
Demosth., p. 28, was wrong in assuming two tragic actors of the name. 

275. Κάλλιππος (1), ὑ. κι, acted the Heniochos of Menander at the 
Dionysia in 312 B.c., IG. II 914 ὁ as restored by Wilhelm, p. 45. This 
Callippus is probably the Lenaean victor of 306 B.c., IG. IT 1289: ὑποκριτὴς 
κ[ ὠὡμωιδοῖς ἐνίκα Κάλλιπ͵]πος Καλλίου Σουνιεύς, Wilhelm, pp. 210, 44. In 
this case he was probably the father of Callippus (2) and grandfather of 
Callias, No. 269. The Lenaean victories of the elder Callippus were 
recorded in the column preceding IG. II 977y, see p. 66. If with Wil- 
helm, p. 43, Κάλλ{ιππος] is to be restored in IG. 11 9746, which Reisch 
considers Lenaean, as actor of a play of Alexis, it might be either the elder 
or the younger Callippus; but see under No. 268. 

276. Κάλλιππος (2), ὑ. κι, four times victor at the Lenaea ca. 313 B. c., 
IG. II 977 y(u), W. p. 153, cf. 43. Victor at the Dionysia in 312 B.c., 
IG. II 974 ¢, W. p. 45: [ὑπο: ΚάλλιϊΪππος νεὼ ἐνίκ as restored by Wilhelm. 
Ibid. 311 B.c.: [Νικόστ]ρατος dev... .. οσκόπωι [ὗπε: Κὶ ΪἹάλλιππος vewre. 
He was victor four times at the Dionysia if σ΄, W. p. 160, is to be restored 
[Κάλλιππ] os IIll, as suggested by Capps AJP. XX (1899), p. 404, n. 3. 
Probably the father of Callippus (3), and son of Callippus (1). Cf. also 
No. 277. 

277. Κάλλιππος Καλλίου Σουνιεύς, v. x., victor at the Lenaea in 306 8. c., 
acting a play by Philemon, IG. II 1289: ὑποκριτὴς [κωμωιδοῖς ἐνίκα 
Κάλλιπ)|πος Καλλίου Sovnet’s. Probably identical with Callippus (1), 
though possibly with (2). Kirchner No. 8086. 

278. Κάλλιππος (3), κωμῳδός at the Dionysia at Delos in 268 B.c., 
BCH. VII (1883), p. 109, wrongly identified by Capps AJP. XX (1899), 
p- 403, and AJA. IV (1900), p. 80, and later by Wilhelm, p. 48, and 
Kaibel, p. 192, with Callippus (2). On account of his date he is probably 
the son of No. 276, and brother of Callias, No. 269, 

279. Καλλίστρατος, comic didascalus for Aristophanes in the produc- 
tion of the Daitaleis 427, Babylonians 426, Acharnians 425, Birds 414, 
and Lysistrata 411. Nothing is known of him asa poet. Falsely called 
an actor by schol. Arist. Nub. 531: Φιλωνίδης καὶ Καλλίστρατος, οἱ ὕστερον 
γενόμενοι ὑποκριταὶ τοῦ ᾿Αριστοφάνους. 


110 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


280. Καλλίστρατος, ὑ. κι, victor at the Lenaea ca. 365 Β.ο., IG. II 
977 1(1), W. pp. 161, 252. Probably to be restored in IG. II 974b, 
W. p. 41, Καλλ[ίστρατος], actor of a play by Alexis, as Reisch Z6G. 1907, 
p. 299, thinks, at the Lenaea; but see under Callippus (1). 

281. Καλλίστρατος, ὑ. κι, victor at the Dionysia ca. 282 B.c., IG. II 
977 b’e’(w), W. p. 156. 

282. Καλλίστρατος, ὑ. κ-. acted the Philoikeios of Timostratus at the 
Dionysia in 183 8.c., IG. Il 9756, W. p. 72, possibly also in 167 B.c., 
ibid. frag. c, 1. 24, Ka[-]; see No, 265. 

283. Καλλίστρατος ξακέστου Θηβαῖος, as ὑ. κωμῳδιῶν victor at the 
Amphiaraia at Oropus soon after 86 B.c., IG. VII 419; as κωμῳδός at the 
Charitesia at Orchomenus and at the Homoloia at Orchomenus ca. 100-75 
B.c., ibid. 3197. Not to be identified with the preceding, cf. Reisch De 
mus. cert., p. 119 n. 6. 

284. Κάλλων Κάλλωνος, Athenian, tragic synagonist, representative of 
the Athenian guild of technitae at Delphi ca. 97 s.c., BCH. XXX 
(1906), No. 49, p. 278, 1. 31. Not in Kirchner. 

285. Kapvaydpas Στράτωνος Μαλλώτης, as ὗ. καινῶν κωμῳδιῶν Victor at the 
Heraea at Samos second century Β. οι, JAS. VIT (1886), p. 148, Michel 901. 

286. Kavourias, a Greek actor whom Brutus met at Naples, Plut. Vit. 
Brut. 21: καὶ τῶν περὶ τὸν Διόνυσον τεχνιτῶν αὐτὸς (i. e., Brutus) εἰς Νέαν 
πόλιν καταβὰς ἐνέτυχε πλείστοις " περὶ δὲ Κανουτίου τινὸς εὐημεροῦντος ἐν τοῖς 
θεάτροις ἔγραφε πρὸς τοὺς φίλους. ὅπως πείσαντες αὐτὸν εἰσαγάγωσιν - Ἑλλήνων 
γὰρ οὐδένα βιασθῆναι προσήκειν. 

287. Κηφίσιος Ἱστιαιεύς, κωμῳδός at the Dionysia at Delos in 282 and 
279 .c., BCH. ΝΠ (1883), pp. 105, 108. Acted the Trimainomenos of 
Diodorus at the Lenaea in 288 B.c., IG. II 972; identification by Capps 
AJA. TV (1900), p. 88, cf. Wilhelm, p. 61. 

288. Κηφισόδωρος Καλλίου Βοιώτιος, comic didascalus at the Soteria at 
Delphi in 272 and 271 8.¢., SGDI. 2563, 1. 56, 2564, 1. 65. In 269 B.c. 
appears aS χορευτὴς κωμικός, ibid. 2566, 1.76. Possibly, as Wilhelm Ρ. 154 
suggests, [Κηφισόδωρος is to be restored in the list of Lenaean victors 
IG. ΠῚ 977 a’, date ca, 250 8. 0c. (The second victory is erased on the 
stone, see Wilhelm, p. 96.) The same person probably appeared at Delos 
as κωμῳδός in 259 B. C., [Κηφισόδωρ jos, see No. 538. 

289, Κηφισοκλῆς, ὑ. τ΄ or b. κι, object of a witticism of the tragic poet 
Sosiphanes (time of Ptolemy Philadelphus), Ath. 453a: καὶ ὁ Swoudavns 
ὁ ποιητὴς εἰς Κηφισοκλέα τὸν ὑποκριτὴν εἶπεν λοιδορῶν αὐτὸν ὡς εὐρύστομον" 
ἐνέβαλον yap ἄν σου," φησίν, ‘ds τὰ ἰσχία λίθον, εἰ μὴ καταῤῥαίνειν ἔμελλον 
τοὺς περιεστηκότας." 

290. Κηφισοφῶν, ὑ. τ. (7), fifth century, Thom. Mag. apud Vit. Eurip.: 
φωράσας δὲ τὸν αὑτοῦ ὑποκριτὴν Κηφισοφῶντα ἐπὶ τῇ γυναικί But no one 
else reports that Cephisophon was an actor, On the contrary, the ancient 
commentators who identify the θεράπων Εὐριπίδου Arist. Ach. 395 ff. with 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 17}: 


Cephisophon do not think of him as an actor. Vdlker, p. 167, rightly 
questions the statement of Thomas Magister and leaves the relationship 
of Cephisophon to Euripides in doubt. 

291. Ka-, IG. II 977 ma’), W. p. 164, assigned by Reisch Z6G. (1907), 
p. 306, to the Lenaean list of comic actors. Doubtful. 

292. Κλέανδρος (1), fifth century B.c., said to have been the first actor 
employed by Aeschylus, Vit. Aesch., p. 121. 80 West.: ἐχρήσατο δ᾽ ὑπο- 
κριτῇ πρώτῳ μὲν Κλεάνδρῳ, ἔπειτα καὶ δεύτερον αὐτῷ προσῆψε Μυννίσκον τὸν 
Χαλκιδέα, τὸν δὲ τρίτον ὑποκριτὴν αὐτὸς ἐξεῦρεν, ὡς δὲ Δικαίαρχος ὃ Μεσσήνιος, 
Σοφοκλῆς. Of this actor we hear nothing more. If the statement of the 
Vita is correct, this Cleandrus is to be distinguished with Volker, p. 152 
(following Bursian), from Cleandrus (2), who was probably his son. 

293. Κλέανδρος (2), ὑ. 7., flourished in the last quarter of the fifth ᾿ 
century, Dem. lvii. 18 (c. Eubulides): διαβεβλήκασι γάρ μου Tov πατέρ᾽. ὡς 
ἐξένιζεν: καὶ ὅτι μὲν ἁλοὺς ὑπὸ τῶν πολεμίων ὑπὸ τὸν Δικελεικὸν πόλεμον καὶ 
πραθεὶς εἰς Λευκάδα, Κλεάνδρῳ περιτυχὼν τῷ ὑποκριτῇ πρὸς τοὺς οἰκείους ἐσώθη 
δεῦρο πολλοστῷ χρόνῳ, παραλελοίτπασιν. Thucritus of Halimus was cap- 
tured in 413 8.c.and restored through the efforts of Cleandrus about the 
end of the Peloponnesian war, see Kirchner Prosop. No. 7259. Cleandrus 
must have been an Athenian citizen, cf. Vélker, p. 152, engaged at the 
time in the practice of his profession ἐπὶ ξένης, Westermann ad Dem. 
Eub. 18, and Volker, p. 152, He cannot have been the actor of Aeschy- 
lus, though probably his son. Cleandrus was victor at the Dionysia in 
387 B.c., IG. IT 971d, Wilhelm Urk., p. 23, Wien. Jahresheft X (1907), 
p. 39, Capps AJP. XXVIII (1907), p. 182. This was probably one of his 
last victories. His name is not extant in the Victors’-lists, but is prob- 
ably to be restored in col. i, 1. 10, of IG. II 977 p(e), W. p. 1387 (City 
Dionysia). Wilhelm, p. 139. In 977s, W. p. 145 (Lenaea), his name 
probably stood in the lacuna in col. i, i.e., between ca. 425 and 400 3. c., 
though it might be restored in 1. 5, where Wilhelm restores [Movvvick os 
II, date ca. 426 B.c.; but the former alternative is more probable. 

294. Κλέανδρος (3), apparently an actor, uncertain date, in IG. XITi 
125, quoted under No. 69. Kaibel Urk., p. 188, makes him κωμῳδός, 
but Wilhelm, ibid. n. 2, expresses doubt. 

295. Κλειδημίδης, ὑ. τ. (2), fifth century, Arist. Ran. 791: νυνὶ δ᾽ ἔμελλεν 
(ξοφοκλῆς), ὡς ἔφη Κλειδημίδης, ἔφεδρος καθεδεῖσθαι, and schol. δα loc.: 
Καλλίστρατος, ὅτι ἴσως Σοφοκλέους υἱὸς οὗτος, ᾿Απολλώνιος δέ, ὅτι Σοφοκλέους 
ὑποκριτής. That Cleidemides bore some relation to Sophocles is clear 
from the passage in Aristophanes; but whether he was an actor asso- 
ciated with Sophocles is doubtful. On this question and on the punctu- 
ation and interpretation of Ran. 791 see Vélker, pp. 150 ff. 

296. Κλεῖτος, ὑ. r., victor at the Lenaea ca. 2908.c., IG. II 977 w(b’), 
W. p. 145. Wilhelm, p. 146, suggests identity with following, but this 
is doubtful. 


112 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


297. Κλεῖτος, tragic synagonist, member of the guild of technitae of 
Ptolemais, reign of Ptolemy Philadelphus, BCH. IX (1885), p. 182, 
Miche! 1017, Ditt. Orient. Gr. inser. 51. 

298. Κλεόδαμας, ὑ. r., once victor at the Lenaea ca. 380 B.c., IG. II 977s, 
W. p. 145, [KA led] δαμα]ς, due to Wilhelm. 

209. Κλεόδωρος, τραγῳδός at the Dionysia at Delos in 279 8.c., BCH. 
VIT (1883), p. 108. Κλεοίδ-}] in IG. II 977 d(s), W. p. 157, ca. 286 8. ο., 
which Reisch ZG. (1907), p. 306, has rightly assigned to the Lenaean 
list of tragic actors, is to be restored Κλεόϊ dwpos-]. 

300. Κλεόκριτος, ὑ. τ. (7), fifth century B.c., Arist. Av. 877: δέσποινα 
Κυβέλη, στρουθέ, μῆτερ Κλεοκρίτου, and schol. ad loc.: ἐκωμωδεῖτο δὲ ὡς ξένος 
καὶ δυσγενής. Σύμμαχος προείρηκεν ὅτι ξένος καὶ τάχα ὑποκριτής ; οἷ. schol. ad 
Ran. 1455: κωμῳδεῖται καὶ ὡς ξένος καὶ ὡς κόλαξ. 

801. Κλεόμαχος, ὑ. τ., beginning fourth century Β. ο., Arist. Eccl. 22: 
καταλαβεῖν δ᾽ ἡμᾶς ἕδρας ἃς Φυρόμαχος ποτ᾽ εἶπεν. etc.; schol. ad loc.: ypa- 
erat ‘is Κλεόμαχος᾽ καὶ φασὶ Κλεόμαχον τραγικὸν ὑποκριτήν. οὗτος φαίνεται 
ὑποκρινόμενός ποτε εἰρηκέναι "ἕδρας ἐν δράματι καὶ ἐσκῶφθαι διὰ τὸ κακέμφατον. 
ὁ δὲ Σφυρόμαχος ψήφισμα εἰσηγήσατο, ὥστε τὰς γυναῖκας καὶ τοὺς ἄνδρας χωρὶς 
καθέζεσθαι καὶ τὰς ἑταίρας χωρὶς τῶν ἐλευθέρων. 

8302. Κλεόνικος Κλεοκράτου Ῥόδιος, τραγῳδός, ca. middle of the third 
century B.c., honored by the Oropians in a proxeny decree IG. VII 275. 
The name is to be restored in the Athenian Victors’-list IG. II 977 g(a’), 
W. p. 150, once victor at the Lenaea ca. 265, | KAedvex los ; Wilhelm reports 
Shas xtlos I. See No. 525. 

303. Κλεόξενος ᾿Αχαιοῦ Χαλκιδεύς, κωμῳδός at the Soteria at Delphi in 
272 8. c., SGDI. 2563, 1. 62. Appeared as κωμῳδός at the Dionysia at 
Delos in 2688.c., BCH. VIT (1883), p. 109, cf. Capps TAPA. XXXI 
(1900), p. 115, and Wilhelm, p. 158. He is mentioned first in his com- 
pany at Delphi. ; 

304, Κλέων Κράτωνος Θηβαῖος, as τραγῳδός, victor at the Soteria at 
Acraephia soon after 86 B.c., IG. VII 2727. His father Κράτων Κλέωνος 
Θηβαῖος was victor as rhapsodist at the Amphiaraia at Oropus and at 
the Charitesia at Orchomenus, IG, VII 418, 3195; see Reisch De mus, 
cert., p. 130, 

305. Κλεώνυμος | | ᾿Αχαιός, τραγῳδός at the Soteria at Delphi in 
269 5. c., SGDI. 2566, 1. 57, Michel 895. 

306. Κλήμης Βυζάντιος, ὑ, 7., time of Septimius Severus, Philost. Vit. 
Soph. 2. 27. 2: Κλήμης yap ὁ Βυζάντιος τραγῳδίας ὑποκριτὴς ἦν μὲν οἷος οὕπω 
τις τὴν τέχνην, νικῶν δὲ κατὰ τοὺς χρόνους, os τὸ Βυζάντιον ἐπολιορκεῖτο, ἀπήει 
ἁμαρτάνων τῆς νίκης, ὡς μὴ δοκοίη δι᾽ ἑνὸς ἀνδρὸς κηρύττεσθαι πόλις ὅπλα ἐπὶ 
Ῥωμαίους ἡρμένη. ἄριστα δὲ αὐτὸν ἀγωνισάμενον κἂν τοῖς ᾿Α μφικτυονικοῖς ἄθλοις 
οἱ μὲν ᾿Αμφικτύονες ἀπεψηφίζοντο τῆς νίκης δέει τῆς προειρημένης αἰτίας, dvarn- 
δήσας δὲ ξὺν ὁρμῇ ὁ ἹἹππόδρομος, “οὗτοι μέν," εἶπεν, ᾿ἐρρώσθων ἐπιορκοῦντες 
τε καὶ παραγιγνώσκοντες τοῦ δικαίου, ἐγὼ δὲ Κλήμεντι τὴν νικῶσαν δίδωμι. ἐφέν- 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 113 


tos δὲ θατέρου τῶν ὑποκριτῶν (i.e., his rival protagonist) ἐπὶ τὸν βασιλέα. 
ηὐδοκίμησε πάλιν ἡ τοῦ ᾿ἱπποδρόμου ψῆφος, καὶ γὰρ δὴ καὶ ἐπὶ τῆς Ρώμης ἐνίκα ὃ 
Βυζάντιος. 

307. Κράτης ᾿Αθηναῖος, ὑ. x., the comic poet, who is said to have been 
an actor for Cratinus before he turned to writing plays, schol. ad Arist. 
Eq. 537: otros κωμῳδίας ἣν ποιητής. ὃς πρῶτος ὑπεκρίνατο τὰ Kpartivov, καὶ 
αὐτὸς ποιητὴς ὕστερον ἐγένετο ; Anon. De com. Kaibel, p. 7,1. 28: Κράτης 
᾿Αθηναῖος. τοῦτον ὑποκριτήν φασι γεγονέναι τὸ πρῶτον, ὃς ἐπιβέβληκε Κρατίνῳ, 
πάνυ γελοῖος καὶ ἱλαρὸς γενόμενος. His career as an actor was before 450, 
in which year he won his first prize as a poet at the City Dionysia, 
Eusebius Vers. Armen. sub Ol. 82: Crates comicus et Telesila cognosce- 
bantur; Hieronymus: clarus habetur. This date is in accord with his 
position as a poet in the Victors’-list, IG. II 977 d(z), W. p. 107 (Diony- 
sia); οἵ. Capps Introduction of Comedy, p. 24, and AJP. XXVIII (1907), 
p. 195. Vélker, p. 168, Kirchner No. 8739. 

308. Κράτης, ὑ. x., victor at the Dionysia in 188 B. c., IG. II 975a, col. 
ii, W. p. 70, and in 183 acted the Milesia of Philemon ITI, ibid. frag. ὃ, 
601. 11: W. p: 72. 

309. Κρέων Εἰὐφάνου ᾿Αθηναῖος, τραγῳδός at the Soteria at Delphi in 270 
B. σ., SGDI. 2565, 1.53. He is mentioned first in hiscompany. Kirchner 
No. 8783. 

810, Κριτίας KXewvaios, fictitious name of a tragic actor in Ale. Ep. 3. 12 
Schepers (3. 48), quoted under No. 258. 

311. Κριτόδημος, t. κι. acted the Agnooun of an unknown poet in 
169 8. c., and in the same year won the victory, IG, II. 975c, W. p. 76, 
[Κριτόδ]ημος. 

912. Κρίτων Νικοδάμου, Athenian, tragic synagonist, representative of 
the Athenian guild of technitae at Delphi in 106 8. c., BCH. XXX (1906), 
No. 50, p. 288, 1. 34. Wilhelm, p. 256, suggests that he is the grandson 
of the comic poet Criton, IG. II 9756, and son of the comic poet Nicode- 
mus and greatgrandson of the comic actor Nicodemus, ibid. frag. f; 
extremely doubtful. Not in Kirchner. 


313. Acovreds "Apyetos, τραγῳδός, first century B. c., Amarantus apud 
Ath. 348e f: ὀψοφάγος δ᾽ ἢν καὶ Λεοντεὺς ὁ ᾿Αργεῖος tpaywdds, ᾿Αθηνίωνος μὲν 
μαθητής, οἰκέτης δὲ γενόμενος Ἰόβα τοῦ Μαρουσίων βασιλέως, ὥς φησιν ᾿Αμάραντος 
ἐν τοῖς περὶ σκηνῆς, γεγραφέναι φάσκων εἰς αὐτὸν τόδε τὸ ἐπίγραμμα τὸν Ἰόβαν, 
ὅτε κακῶς τὴν Ὑψιπύλην ὑπεκρίνατο’ “μή με Λεοντῆος τραγικοῦ κεναρηφαγον 
nxos | λεύσσων Ὑψιπύλης ἐς κακὸν ἦτορ ὅρα." 

314. Λεπτίνης, ὕ. τ.. victor at the Dionysia ca. 480 B. ο., IG. II 977 ρ(67, 
W. p. 137, [Ae ra ns-], restored by Wilhelm, who also proposes [ΛεπτίνἼης 
ΠῚ (ca. 430) in the corresponding Lenaean list, 977r, W. p. 145; but 
there is space in the lacuna for fully seven letters; see No. 5lla. 


114 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


315. Λικύμνιος, a fictitious name of a tragie actor in Ale. Ep. 3. 12 
Schepers (3. 48), based probably on the phrase Λικυμνίοις βόλαις, Hesych 
s. v., derived in turn from the Likymnios of Euripides. The passage is 
quoted under No. 258. 

316. Λυκίδας Θρασυξένου Ζακύνθιος, κωμῳδός at the Soteria at Delphi in 
272 8. c., SGDI. 2563, 1. 49. 

517, Λυκίσκος Λύκου Κεφαλλάν, κωμῳδός at the Soteria at Delphi in 271 
and 269 8. c., SGDI. 2564, |. 61, 2566, 1. 68; victor at the Lenaea ca. 272 
Β. 0., IG. II 977 y(u), W. p. 153, according to Capps’s identification AJA. 
IV (1900), p. 81. He is both times mentioned first in his company at 
Delphi. 

318. Λυκόφρων, tpaywdds, insc. Iasos ca. 180-150 B. o., Lebas-Wad. IIT 
256: Κλεάναξ Θεοκλείους χορηγήσας πρότερον (ἐπέδωκε) Λυκόφρονα τὸν τραγῳδόν 
καὶ ἡ πάροδος εὗρε δραχμήν, ἡ δὲ θέα ἐγένετο δωρεάν. 

319. Λύκων Σκαρφεύς, ὑ, κι. twice victor at the Lenaea ca. 350 B.c., Τὰ Π 
977 «(p), W. p. 150. Said by Philodemus to be τὸ πᾶν ἐν κωμῳδίᾳ, see under 
No. 274. He was admired by Alexander, whom he accompanied to Asia, 
giving exhibitions at Tyre in 332, Plut. Vit. Alex. 29: Λύκωνος δὲ rod Sxap- 
φέως εὐημεροῦντος ἐν τῷ θεάτρῳ καὶ στίχον εἰς τὴν κωμῳδίαν ἐμβαλόντος αἴτησιν 
περιέχοντα δέκα ταλάντων, γελάσας ἔδωκε, cf. Plut. Mor. 584; κωμῳδοὶ 8 
ἦσαν οἱ περὶ Λύκωνα τὸν Σκαρφέα: τούτῳ δ᾽ εἴς τινα κωμῳδίαν, ete. (and the same 
story), and at Susa in 324, Chares apud Ath. 539 a (quoted under No, 13). 
Volker, p. 216, thinks that the “Lykon” of Antiphanes was named after 
the actor, and cites the epigram of Phalaecus, Anth. Pal. xiii, 6: τοῦτ᾽ ἐγὼ 
τὸ περισσὸν εἰκόνισμα, | TOD κωμῳδογέλωτος εἰς θρίαμβον, κισσῷ καὶ στεφάνοισιν 
ἀμπυκασθέν, | ἔστασ᾽, ὄφρα Λύκωνι σᾶμ᾽ ἐπείη. | ὅσσα γὰρ κατέπραξε λαμπρὸς 
ἀνήρ, | μνᾶμα τοῦ χαριέντος ἔν τελέσχᾳ ἐν τ᾽ οἴνῳ τόδε κἠπὶ τοῖς ἔπειτα ἄγκειται, 
παράδειγμα Tas ὀπωπᾶς. Breitenbach De gen. quod. tit. com. Att., p. 58. 

320. Λύκων [Γλαυκ]έτου ᾿Αθηναῖος, tragic didascalus at the Soteria at 
Delphi in 272 5, c., S@DF. 2563, 1.46. The father’s name was restored 
by Preuner Delph. Weihgeschenk, p. 74, ef. IG. IT 945, 1.19. Possibly 
ἹΚηφισιεύς, Larfeld Handb. gr. Epigr. IT i, p. 177. Not in Kirchner; but 
cf. No. 9269. 

321. Λυσικράτης, ὑ. τι, acted the Tyro and another tragedy by an un- 
known poet at the Lenaea in 418 5, c., IG, ΤΙ 972, col. ii, Τυροῖ TI—, tre: 
Λυσικράτ[ ης]. Wilhelm, p. 52, identifies with the Lysicrates of Arist. Av. 
518, ef. schol. ad loc.: ἔνιοι δὲ τραγικὸν αὐτόν φασι κλέπτην, καὶ σφόδρα ἄσημον, 
where we should read ζὑποκριτήν, κλέπτην καὶ, κτλ. Bergk Hermes XVIII 
(1883), p. 509, would read in Hyp. Eur. Phoen. διὰ Λυσικράτους ἐπὶ 
ἄρχοντος instead of ἐπὶ Ναυσικράτους ἄρχοντος ; see Wilhelm, p. 62. 

822. Λυσίμαχος Eixpdrov Βοιώτιος, κωμῳδός at the Soteria at Delphi in 
270 5. o., SGDI, 2565, 1. 68. He is mentioned first in his company. The 
identification proposed by Capps AJA, TV (1900), p. 87 with the following 


is impossible, 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 115 


323. Λυσίμαχος, ὕ. κι, acted at the Dionysia ca. 150 8. ο., IG. 11 975h, 
which Reisch ZoG. 1907, p. 299, places at the top of the last column, fol- 
lowing frag. d. Wilhelm, p. 81, recognizes his gravestone in IG. ITI 2083 
(ivy leaves), [ΛΔυ]σίμαχοίς ᾿Απ|ολλοδώϊρου Φλυεύς, γόϊνωι δὲ... .. Ἰώου. 
Kirchner ΝΟ. 9551. Capps loc. cit. proposed to restore [Λυσίμαχος also ibid., 
frag. ἡ and to identify with this actor; but it now appears (Wilhelm, p. 80) 
that the date of 7 is considerably earlier, 210-187. [Λυσίμαχος might be 
restored in frag. c, 1.6, 169 Β. ο.; see No. 540. Wrongly identified by Capps 
AJA. IV (1900), p. 88, with the comic poet Lysimachus in Lue. Iud. voe. 7. 


524. M-, Athenian, κωμῳδός at Delphi representing the Athenian guild 
of technitae in 138 Β. ¢., BCH. XXX (1906), p. 273, 1. 26. 

325. Μαίσων Μεγαρεύς, ὑ. x. on the authority of Aristophanes of Byzan- 
tium apud Ath. 659a ὃ ©: ἐκάλουν οἱ παλαιοὶ τὸν μὲν πολιτικὸν μάγειρον 
“μαισωνα,᾽ τὸν δ᾽ ἐκτόπιον ᾿ τέττιγα. Χρύσιππος δ᾽ ὃ φιλόσοφος τὸν μαίσωνα 
ἀπὸ τοῦ μασᾶσθαι οἴεται κεκλῆσθαι, οἷον τὸν ἀμαθῆ καὶ πρὸς γαστέρα νενευκότα, 
ἀγνοῶν ὅτι Μαίσων γέγονεν κωμῳδίας ὑποκριτὴς Μεγαρεὺς τὸ γένος. ὃς καὶ τὸ προ- 
σωπεῖον εὗρε τὸ ἀπ᾽ αὐτοῦ καλούμενον ‘paicwva,’ ὡς ᾿Αριστοφάνης φησὶν ὃ Βυζάν- 
τιος ἐν τῷ περὶ προσώπων, εὑρεῖν αὐτὸν φάσκων καὶ τὸ τοῦ θεράποντος πρόσωπον; 
καὶ τὸ τοῦ μαγείρου. καὶ εἰκότως καὶ τὰ τούτοις πρέποντα σκώμματα καλεῖται 
“μαισωνικά.᾽ .. .. τὸν δὲ Μαίσωνα Πολέμων ἐν τοῖς πρὸς Τίμαιον ἐκ τῶν ἐν 
Σικελίᾳ φησὶν εἶναι Μεγάρων καὶ οὐκ ἐκ τῶν Νισαίων. Hesych. 5. Μαίσων and 
Τέττιξ, Eustath. ad Od. 14. 78, p. 1751. 53, are derived from the same 
source as Athenaeus. On the comic mask Μαίσων see Rankin Role of the 
Mayetpou, ete. (Chicago, 1907), pp. 13 ff. 

326. Μακαρεὺς Λακιάδης, ὑ. 7., (or poet?) tit. sep. IG. I]. 2263, fourth 
century Β. Ο.: Μακαρεὺς Λακιάδης: ᾿Αρχέβιος. | εἴ σε τύχη προὔπεμψε καὶ ἡλι- 
κίας ἐπέβησεν, ἐλπιδὶ γ᾽ ἦσθα μέγας τῷ τε δοκεῖμ, Maxaped, ἡνίοχος τέχνης 
τραγικῆς Ἕλλησιν ἔσεσθαι, | σωφροσύνῃ δ᾽ ἀρετῇ τε οὐκ ἀκλεὴς ἔθανες. “ Maca- 
reus histrio fuit tragicus,” Kaibel Epig. Gr. 39. Cf. No. 192 above. 
Kirchner No. 9654. 

327. Μενέδημος, tpaywdds at the Dionysia at Delos in 171 8. c., BCH. 
ΙΧ (1885), p. 147. 

328. Μενεκλῆς, v. κι, once victor at the Lenaea ca. 260 8. c., IG. II 977 
y(u), W. p. 153, identified by Capps AJP. XX (1899), p. 403, AJA. IV 
(1900), p. 82, with the Menecles who appeared at the Dionysia at Delos 
aS κωμῳδός in 280 B. c., BCH. VII (1883), p. 101. The restoration [Meve]- 
κλῆς Διοκλέους ᾿Αθηναῖος, κωμῳδός at the Soteria at Delphi in 272 8. c., 
SGDI. 2563, 1. 59, is less probable than [ΠολυΪκλῆς, both proposed by 
Capps TAPA. XXXI (1900), p. 126. See No. 406. 

329. Mevexparns, v. 7., thrice victor at the Dionysia ca. 432 B. o., IG. IT 
977 p(e’), W. p. 137, restored by Wilhelm [Mevex]parys, once victor at the 
Lenaea ca. 431, 9777, W. p. 145. Wrongly identified by Wilhelm, p. 21, 
with the tragic poet of IG. 11 972, col. ii. 


110. HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


330. Mevexparns Ποτειδαίου Μεγαρεύς, comic didascalus at the Soteria at 
Delphi in 272 8. c., SGDI. 2563, 1.61. Possibly the κωμῳδός at the Dionysia 
at Delos in 259 B. c., see No. 331. 

331. Μενεκράτης, κωμῳδός at the Dionysia at Delos in 259 s.c., BCH. 
VIT (1883), p. 113, where Mevexparys .... . os Σίφνιος is reported. But 
the ethnicon does not belong to Mevexpdrys, who was rather the Megarian 
(No. 330 above) or an Argive (cf. Siuaxos Mevexparov ᾿Αργείος, No. 435), 
Capps TAPA. XXXI (1900), p. 118. 

332. Μενεκράτης ᾿Ασσυρίου Συλλεύς, κωμῳδὸς περιοδονείκης παράδοξος, time 
of Caracalla, IG. IV 6829, 1. 23, probably a decree of the Teian technitae 
whose seat was at Lebedos. 

333. Μέντωρ IIpwroyévouvs, Athenian, tragic synagonist representing 
the Athenian guild of technitae at Delphi in 106 Β. c., BCH. XXX (1906), 
No. 50, p. 288, 1. 33. 

334. Μηνόδοτος Ἑστιαίου Σφήττιος, κωμῳδός, tit. sep., middle second 
century B.o., IG. II 2578. Kirchner No. 10113. 

335. Μηνόδοτος Μητροδώρου Περγαμηνός, as i. κωμωδιῶν victor at the 
Romaea at Magnesia ca. middle second century B.c., acting a play of 
Diomedes in a contest of new plays, Kern Inschr. y. Magn. 886. Cf. 
᾿Αθήναιος Μητροδώρου Περγαμηνός, 1G. IT 3261. 

336. Μητρόδωρος, tpaywdds, member of the guild of technitae at 
Ptolemais, reign of Ptolemy Philadelphus, BCH. IX (1885), p. 132, 
Michel 1017, Ditt. Orient. Gr. Inser. 51. 

337. Μητρόδωρος T. .. , apparently a comic actor, uncertain date, 
inse. Lebedos, BCH. XVIII (1894), p. 216: Μητρόδωρος T under a comic 
mask. His son apparently is..... Μηϊτροδώρου Λεβέδιος, subject of a 
Teian decree referring to Dionysiac exhibitions by him, CIG. 3089, 

338. Μητρόδωρος Ἡ-, Athenian, tragic synagonist representing the 
Athenian guild of technitae at Delphi in 106 Β. ο.. BCH, XXX (1906), 
No. 50, p. 288, 1. 38. Not in Kirchner, 

338 a, Μητρόδωρος, τραγῳδός, uncertain date, insc. Teos, Lebas-Wad. 
III, 92, quoted under No. 180. 

339. Μιλτιάδης, κωμῳδός of the time of Hadrian, mover of a decree of 
technitae, inse. Ancyra IGRR, ΠῚ 210: [eto }yynoapevov Md Arid Sov κωμί w|- 
δοῦ ἀν δρὸς σεϊβαστονείκου. 

340, Μίρων, ὑ. τ΄. twice victor at the Lenaea ca. 385 Β. c., Τὰ. II 977 5, 
W. p. 145. 

BAL. Μ)]νησίθεος ἐΐ νικα 7] — [τ]ὰ δεύτερα [ὑποκρινόμενος ἢ IG. Χ]ΙΠ ii 
125 », date and restorations uncertain; Wilhelm, p. 206. 

BAZ. Μνησίλοχος Εὐριπίδου Φλνεύς, ὑ. r., second son of Euripides, was 
a tragic actor according to Vit. Eur., p. 134. 26 West.: καὶ υἱοὺς κατέλιπε 
τρεῖς, Μνησαρχίδην μὲν πρῶτον ἔμπορον, δεύτερον δὲ Μνησίλοχον ὑποκριτήν. 
οἵ. ibid., p. 189, 25. Welcker Gr. Trag., p. 82, thought that he brought 
out some of his father’s plays, but there is no evidence for this. Volker, 
p. 163. Kirchner No, 10330. 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 117] 


343. Μνησιφῶν Evhpaydpov Τροιζήνιος, τραγῳδός at the Soteria at Delphi 
in 271 8. c., SGDI. 2564, 1. 52. 

844. Moipayévns ᾿Αναξίλου Κασσανδρεύς, tpaywdds at the Soteria at 
Delphi in 270 8. c., SGDI. 2565, 1. 55. 

345. Μοιρίας, κωμῳδός, by the technitae of Asia and the Hellespont 
νεμηθεὶς σὺν τῇ ὑπηρεσίᾳ ἐπιτελεῖσαι τοὺς τῶν Διονυσίων τῶν ἐν ᾿Ιάσῳ ἀγῶνας, 
ca. 151 Β. c., inse. Teos, Lebas-Wad. III 281, Michel 1014. 

346. Μόλων, ὑ. τ., latter part fifth century. Dem. 19.246: τοῦτο δὲ τὸ 
Spay’ (i. e., Euripides’ Phoinissai) οὐδεπώποτ᾽ οὔτε Θεόδωρος οὔτ᾽ ᾿Αριστό- 
δημος ὑπεκρίναντο, .... ἀλλὰ Μόλων ἠγωνίζετο καὶ εἰ δή τις ἄλλος τῶν 
παλαιῶν ὑποκριτῶν. From this it appears that Molon belonged to the 
generation before Theodorus and Aristodemus, whose activity may be 
placed from ca. 380 on; he may possibly have been a contemporary of 
Euripides in his later years. So Vélker, p. 163 ff. He was of large 
bodily size, οἵ. Arist. Ran. 55: “πόθος; πόσος τις; “μικρός, ἡλίκος 
Μόλων, and schol. ad 106.: παίζει: ἔστι γὰρ μεγαλόσωμος 6 Μόλων. Since 
he was alive in 405, it is possible that he acted the Phoinissai of Euri- 
pides at its first performance in 408, and from Arist. Ran. 52 ff. it is 
possible that he acted also the Andromeda, produced in 411. Didymus 
and Timarchidas knew of a tragic actor of this period, but Didymus was 
in doubt whether the allusion in Arist. Ran. 55 was to him or to another 
person of the name, schol. ad loc.: Δίδυμός φησιν ὅτι δύο Μόλωνές εἰσιν, 
6 ὑποκριτὴς Kat ὃ λωποδύτης " Kal μᾶλλον τὸν λωποδύτην λέγει, ὅς ἐστι μικρὸς 
τὸ σῶμα. Τιμαρχίδας δὲ τὸν ὑποκριτὴν λέγεσθαι νυνὶ Μόλωνα. Cf. Suidas 8. 
Μόλων and μικρὸς ἡλίκος Μόλων. The number of his victories is not 
recorded, but his name probably stood in the lacuna in Τά. II 977 p(e’) 
andr. Wilhelm, p. 143, suggests its restoration in 1, ]. 4. 

347. Mévipos, ὑ. κι. acted the Choregoun of Paramonus at the Dionysia 
in 169 B.c., and as κωμῳδός brought out the Phasma of Menander as 
παλαιά in 167, acting in the same year the Aitolos of Criton, IG. IT 975, 
W. p. 76. 

348. Μοσχιανὸς Σμυρναῖος, kwuwdds, inse. Frascati IG. XTV 1860, Kaibel 
Epig. Gr. 604, IGRR. I 396: Spupvaios Μοσχιανός, ἐπεὶ ᾽θανον, ἐνθάδε κεῖμαι, 
| kwpwods καὶ τοῦτο διαικρίνει γε τὸ σῆμα:  Μαρκιανὸς δὲ μ᾽ ἔθαψε καὶ ἐκήδευσεν, 
ὁδεῖται, μήτε νεκὺν προλιπών, μήτ᾽ ἐν ζωοῖς ἔτ᾽ ἐόντα.  νοσφισθεὶς βιότου δὲ τέλος 
καὶ μοῖραν ἔτλησα. 

849. Μοσχίων Εὐβούλου Γαργαρεύς, comic didascalus at the Soteria at 
Delphi in 270 s.c., SGDI. 2565, 1. 61. Identified by Capps AJA. IV 
(1900), p. 80, with Mlocyiwy, twice victor at the Lenaea as ὑποκριτὴς 
κωμικός ca. 300 8. ο., IG. IL 977 y(u), W. p. 153. 

350. Μοσχίων ᾿Εἰπαινέτου ᾿Αρκάς, tragic didascalus at the Soteria at 
Delphi in 271 8. c., SGDI. 2564, 1. 59. See under No. 398. 

351, Μυννίσκος Χαλκιδεύς, ὑ. 7., flor. third quarter fifth century. Said 
to have been an actor for Aeschylus, Vit. Aesch. p. 121. 80 West 


118 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


ἐχρήσατο δ᾽ ὑποκριτῇ πρώτῳ μὲν Κλεάνδρῳ. ἔπειτα καὶ δεύτερον αὐτῷ προσῆψε 
Μυννίσκον τὸν Χαλκιδέα- τὸν δὲ τρίτον ὑποκριτὴν αὐτὸς ἐξεῦρεν, ὡς δὲ Δικαίαρχος 
ὁ Μεσσήνιος, Σοφοκλῆς. A Mynniscus of Chalcis was ridiculed by Plato 
comicus (flor. 420-400), Ath. 344d: Muwioxos ὁ τραγικὸς ὑποκριτὴς κωμῳ- 
δεῖται ὑπὸ Πλάτωνος ἐν Σύρφακι ὡς ὀψοφάγος οὕτως (I 642 Kock): ὁδὲ μὲν 
᾿Αναγυράσιος ὀρφώς ἐστί σοι. | οἶδ᾽, ᾧ φίλος Μυννίσκος ὁ Χαλκιδεύς. A Myn- 
niscus appears in the City list of victors, IG. II 977 p(e’), W. p. 137, ina 
position which implies ca. 445 for his first victory, and is restored by 
Wilhelm in the Lenaean list 977 7r, W. p. 145, ca. 427 Β. ο. This might, 
however, be [KA¢avdp|os, or some other name, as well as [Μυννίσκ)ος. 
Finally, a Mynniscus was victor at the Dionysia in 422 s. c., 1G. II 971 ς, 
W. p. 21. It is a question whether we have to do with two tragic actors 
of the name or with only one. But since it is undeniable that the actor 
whom Aeschylus used toward the end of his life was in all probability 
the victor of ca. 445, and may perfectly well have been the victor of 422 
and the person ridiculed by Plato in one of his earliest plays, it is better, 
with Volker, pp. 154 ff., Wilhelm, p. 22, and others not to assume two 
actors of the name; but οἵ. Kaibel Urk., p. 188. Vdlker adds the argu- 
ment that Aristotle seems to have known but one, Poet. 26. 1461 ὃ 34: 
ὡς Kal οἱ πρότερον τοὺς ὑστέρους αὐτῶν ᾧοντο ὑποκριτάς, ὡς λίαν yap ὑπερβάλ- 
Aovra ᾿πίθηκον᾽ ὁ Μυννίσκος τὸν Καλλιππίδην ἐκάλει, τοιαύτη δὲ δόξα καὶ περὶ 
Πινδάρου ἦν. Callippides, who was victor at the Lenaea in 418 Β. c., was 
clearly of a later generation than Mynniscus. It is therefore doubtful 
if the latter’s name is to be restored in the Lenaean Victor’s-list with 
Wilhelm for a first victory as late as 427 Β. c., one line above Callippides. 
Mynniscus is mentioned by Plut. Mor. 348 f among the glories of ancient 
Athens; see under No. 230. 

352. Τιβέριος Κλαύδιος Μυρισμὸς Σμυρναῖος καὶ Μάγνης, insc. Magn. Kern 
Insehr. ν. Magn. 165: ἡ βουλὴ καὶ ὁ δῆμος ἐτείμησεν T. K. Μ. &. καὶ Μ. τραγικῆς 
ἐνρύθμου κεινήσεως ὑποκριτὴν καὶ διὰ τὴν τοῦ ἤθους κόσμιον ἀναστροφήν. 

353. Μύρων Φιλεταίρουν, Athenian, comic synagonist representing the 
Athenian guild of technitae at Delphi in 106 p.c., BCH. XXX (1906), 
No. 50, p. 288, 1. 31. Cf. Μύρων Λευκονοεύς, κῆρυξ at Delos 100 8. c., IG. IT 
985 e 44, Kirchner No. 10505. 


354. N-, ὑ. 7., victor at the Lenaea ca. 325 8. ο., IG. II 977 u(z), 
W. p. 145. Possibly, as Wilhelm suggests, N|cxéotparos-], No. 369. 

355. Ναυσικράτης, ὑ. κι, Victor at the Lenaea ca. 348 B.c., IG. II 
977 αὐ), W. p. 150, as restored by Kohler. Aeschines i. 98 (345 B. c.) 
refers to a Ναυσικράτῃ TO κωμικῷ ποιητῇν Who is the poet mentioned in 
IG. Il 977 mn, second quarter of the fourth century. The correction 
proposed by Franke of ποιητῇ to ὑποκριτῇ is therefore wrong. There is 
also no reason to identify the actor with the poet, with Wilhelm, p. 150. 
If [Nav|oi xpdrys is to be restored in IG. ΠῚ 974 b (Lenaean), W. p. 42, it 
is probably the poet. 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 119 


356. Ναύσων, 3. 7., once victor at the Lenaea ca. 227 B.o., IG. II 
977 q(d'), W. p. 141, identified by Reisch Z6G. 1907, p. 306, as belonging 
to the list of Lenaean tragic actors. 

357. NI (Νι- or Ne-), &. τ., victor at the Dionysia ca. 400 8. c., IG. II 
977 p(e'),W. p. 137. 

358. NI- (Νι- or Ne-), ὕ. 7., victor at the Lenaea ca. 225 B. c., IG. II 977 
o(n), W. p. 166, identified by Reisch Z6G. 1907, p. 306, as belonging to 
the Lenaean list of tragic actors. The traces of this name are not 
reported by Wilhelm to the right of Echetus, but see Capps AJP. XX, 
p. 399, n. 3. 

358 a. Νεοκλῆς Εἰὐδήμου ᾿Αργεῖος, tpaywdos at the Soteria at Delphi in 
271 8B. c., SGDI. 2564, 1. 56. 

359. Νεοπτόλεμος Σικύριος, ὑ. 7., floruit fourth century B. c. He was a 
native of Scyros, schol. ad Dem. 5. 6: ὃ Νεοπτόλεμος Σκύριος ἣν καὶ τραγῳδίας 
ὑπεκρίνατο. For his date we have three main facts: (1) He won a single 
victory at the Lenaea ca. 360 8. c., IG. II 977 t(0); ὟΝ. p. 145. He evi- 
dently exhibited mainly at the Dionysia. (2) He became a confidant of 
Philip of Macedon between his accession in 359 and 347, Hyp. Dem. 19. 2 
(quoted under No. 62). His reputation as an actor must have been well 
established before he was invited to give exhibitions at the court. (8) He 
appeared at the Dionysia of 341 and 340, winning the prize in 341, IG. 11 
973, W. p. 40: in 341 he brought out the Iphigeneia of Euripides as 
παλαιά and acted the Athamas of Astydamas, the |... el. of Euaretus, 
and the Peliades of Aphareus; in 340 he brought out Euripides’ Orestes 
as παλαιά and acted the Lykaon of Astydamas, the Oidipous of (probably) 
Philocles, and the [ ...A]m of Euaretus. After this time we hear 
nothing more of him unless the story of Diod. Sic. 16. 92 is to be credited, 
that he took part at Aegae in the wedding festivities of Cleopatra and 
Alexander Epirotes in 336 B. ο.: ἐν yap τῷ βασιλικῷ πότῳ Νεοπτόλεμος ὃ 
τραγῳδός, πρωτεύων τῇ μεγαλοφωνίᾳ καὶ τῇ δόξῃ, προστάξαντος αὐτῷ τοῦ Φιλίπ- 
που προενέγκασθαι τῶν ἐπιτετευγμένων ποιημάτων καὶ μάλιστα τῶν ἀνηκόντων 
πρὸς τὴν κατὰ τῶν Ilepo@y στρατείαν, 6 μὲν τεχνίτης κρίνας οἰκεῖον ὑποληφθήσε- 
σθαι τὸ ποίημα τῇ διαβάσει τοῦ Φιλίππου, etc. The following story is related 
of Neoptolemus after the murder of Philip, the day after the above epi- 
sode, Stob. Flor. 98. 70, III, p. 233 Mein.: Νεοπτόλεμον τὸν τῆς τραγῳ- 
δίας ὑποκριτὴν ἤρετό τις τί θαυμάζοι τῶν ὑπ᾽ Αἰσχύλου λεχθέντων ἢ Σοφοκλέους 
ἢ Εὐριπίδου: ὃ δὲ οὐδὲν μὲν τούτων εἶπεν, ὃ δ᾽ αὐτὸς ἐθεάσατο ἐπὶ μείζονος σκηνῆς, 
Φίλιππον ἐν τοῖς τῆς θύγατρος Κλεοπάτρας γαμοῖς πομπεύσαντα καὶ τρισκαιδέκα- 
tov θεὸν ἐπικληθέντα. τῇ ἑξῆς ἐπισφαγέντα ἐν τῷ θεάτρῳ καὶ ἐρριμμένον. The 
play that he was about to act at the time of the murder seems to have 
been the Kinyras (Nauck frag. adesp., p. 838), Joseph. Antiq. Iud. 19. 94: 
καὶ yap μῖμος εἰσάγεται. . . .  ὅ τ᾽ ὀρχηστὴς δρᾶμα εἰσάγει Κινύραν, . . . . καὶ 
ὁμολογεῖται δὲ καὶ τὴν ἡμέραν ἐκείνην γενέσθαι ἐν 7) Φίλιππον τὸν ᾿Αμύντου Μακε- 
δόνων βασιλέα κτείνει ἸΤαυσανίας εἷς τῶν ἑταίρων εἰς τὸ θέατρον εἰσιόντα. Cf. Suet. 


120 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


Calig.57: pantomimus Mnestor tragoediam saltavit quam olim Neoptole- 
mus tragoedus ludis quibus rex Macedonum Philippus occisus est egerat. 
There is nothing chronologically improbable in this account. But Ter- 
tullian De anima 46: Neoptolemus tragoedus apud Rhoiteum Troiae 
sepulcrum Aiacis monitus in somnis ab ipso ruina liberat at cum lapidum 
senia deponit, dives inde auro redit, seems to have confounded the actor 
with the companion of Alexander of whom Arrian Anab. 2. 27. 9 speaks, 
as Vélker, p. 210, surmised. Neoptolemus seems not to have been one of 
the large number of famous actors whom Alexander took to Asia; his 
activity was probably ended before then. But it is hardly probable that 
his name is to be restored in the Dionysian Victors’-list, IG. II 977 p(e’), 
W. p. 137, where Capps AJP. XX (1899), p. 403, reported NI, Wilhelm 
N?I. The date of his first victory would then have been ca. 390, which 
is far too early in view of the other chronological data. His name is restored 
as victor in 341 8.c. in IG. 11 971 f, W. p. 27, on the basis of 973, 1. 15. 
That he was made an Athenian citizen is probable in view of his influence 
in bringing them to accept the peace with Philip, Hyp. Aesch. 2: ᾿Αθηναῖοι 
Φιλίππῳ πολεμήσαντες, ὕστερον ἐπείσθησαν ὑπὸ ᾿Αριστοδήμου καὶ Νεοπτολέμου 
καὶ Κτησιφῶντος εἰρήνην πρὸς αὐτὸν ποιήσασθαι, Dem. 5. θ: πάλιν τοίνυν, ὦ 
ἄνδρες ᾿Αθηναῖοι, κατιδὼν Νεοπτόλεμον τὸν ὑποκριτήν. τῷ μὲν τῆς τέχνης προσχή 
ματι τυγχάνοντ᾽ ἀδείας, κακὰ δ᾽ ἐργαζόμενον τὰ μέγιστα τὴν πόλιν, καὶ τὰ παρ᾽ 
ὑμῶν διοικοῦντα Φιλίππῳ καὶ πρυτανεύοντα. ... .. καὶ οὐκέτ᾽ ἐν τοῦτοις αἰτι- 
ἄσομαι τοὺς ὑπὲρ Νεοπτολέμου λέγοντας (οὐδὲ εἷς γὰρ ἦν), ἀλλ᾽ αὐτοὺς ὑμᾶς εἰ 
γὰρ ἐν Διονύσου τραγῳδοὺς ἐθεᾶσασθε. ἀλλὰ μὴ περὶ σωτηρίας καὶ κοινῶν πραγ- 
μάτων ἦν ὁ λόγος, οὐκ ἂν οὕτως οὔτ᾽ ἐκείνου πρὸς χάριν οὔτ᾽ ἐμοῦ πρὸς ἀπέχθειαν 
ἠκούσατε. For ἃ full interpretation of this passage, which implies a high 
compliment to Neoptolemus as an actor (of old plays), see above, pp. 6 £., 
and schol. ad loc. quoted there. Though he acted as a messenger from 
Philip, Dem. 19. 315 (quoted under No. 62), he seems never to have been 
appointed on an Athenian embassy. After the peace he was under suspi- 
οἷοι at Athens, sold his property there, and went to Macedonia, Dem. 5. 8; 
but this was either after 340 or else his stay was not permanent, οἵ, IG, 
ΠῚ 973 above. Except for the record of this inscription we are not informed 
as to the roles he played. On Ischandrus the tragic actor and apparently 
his son, see under No, 264. It is reported by Vit. X. Orat 8447 of Demos- 
thenes: rod δὲ πνεύματος αὐτῷ évddovros, Νεοπτολέμῳ τῷ ὑποκριτῃ μυρίας δοῦναι, 
iv’ ὅλας περιόδους ἀπνεύστως λέγῃ, οἵ. Photius Bibl., p. 498 α,.1. 21, Bekk.: 
Νεοπτολέμῳ τῷ ὑποκριτῇ μυρίας ἔδωκεν ἵνα αὐτῷ συνασκήσῃ τὸν τόνον τοῦ πνεύ- 
ματος. Whether the dedication on the acropolis, of which Polemon apud 
Ath. 472¢ speaks, was by the actor is uncertain: τὰ χρυσᾶ θηρίκλεια ὑπόξυλα 
Νεοπτόλεμος ἀνέθηκεν. Schifer Dem. τι. 5. Zeit I. 2, pp. 246 ff. Kirchner 
No. 10647. Volker, pp. 207 ff. 

360, Νεοπτόλεμος, τραγῳδός, Athenian, ambassador of the Athenian 
technitae to the Amphictyonic Council in 278 5. oc, IG. IT 551, 1. 38, 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM de 


Michel’ JOOS νυ μος tpaywdds. Another copy of the same 
decree BCH. XXIV (1900), p. 82, where the full name is preserved. 
Kirchner No. 10647 fin. 

360 a. Nero, the Roman Emperor Claudius Caesar, added to his passion 
forcelebrity as asinger and musician the ambition to be a great tragic actor. 
He seems to have given performances at Rome, but his career as an actor 
culminated at the time of his journey to Greece in 67 a. p. He introduced 
a musical contest into the Isthmian and Olympian games against the 
custom and seems to have caused the latter to be deferred for one year to 
suit his convenience, Eusebius Vers. Arm. 5. Ol. 211, ef. Suet. Nero 22. 
The fullest account is found in Cassius Dio 63. 9 ff.: ἐδεῦτο ὡς δραπέτης, 
ἐποδηγείτο ὡς τυφλός, ἐκύει, ἔτικτεν, ἐμαίνετο, Tov τε Οἰδίποδα καὶ τὸν Θυέστην, 
τόν τε Ἡρακλέα καὶ τὸν ᾿Αλκμαίωνα, τόν τε Opeotyy ὡς πλήθει ὑποκρινόμενος 
καὶ τά γε πρόσωπά ποτε μὲν αὐτοῖς ἐκείνοις, ποτὲ δὲ καὶ ἑαυτῷ εἰκασμένα ἔφερε, τὰ 
γὰρ τῶν γυναικῶν πάντα πρὸς τὴν Σαβίναν ἐσκεύαστο. Gained the titles 
πυθιονίκης, ὀλυμπιονίκης. περιοδονίκης, παντονίκης. ibid. 10. On his acting 
of the roles of Herakles and Kanake the following anecdote, ibid.: εἷς μέν 
τις στρατιώτης, ἰδὼν αὐτὸν δεδεμένον, ἠγανάκτησε καὶ προσδραμὼν ἔλυσεν. ἕτερος 
δέ, ἐρομένου τινός ᾿ τίποιεῖ ὁ αὐτοκράτωρ; ἀπεκρίνατο ὅτι τίκτει" Kat γὰρ τὴν Κανά- 
κην ὑπεκρίνατο. Suet. Nero 21: tragoedias quoque cantavit personatus, 
heroum deorumque, item heroidum ac dearum personis effectis ad simili- 
tudinem oris sui, et feminae prout quamque diligeret. inter cetera 
cantavit Canacam parturientem, Oresten matricidam, Oedipodem excoe- 
catum, Herculem insanum. Philost. Vit. Apoll. 4. 24 says: ἐνίκα δὲ καὶ 
Tpaywoors ἐν ᾿Ολυμπίᾳ, and alludes to the réles of Creon, Oedipus, Oenomaus, 
and Cresphontes. Luc. Nero 8 (quoted under No. 211) tells how Nero’s 
jealousy of a rival tragic actor at the Isthmia caused the latter’s death. 
Philost. Vit. Apoll. 5. 7 relates the following anecdote in connection with 
Nero’s tour of Greece: ἐπειδὴ καὶ ai ΠΙυθικαὶ ἤδη ἀπηγγέλλοντο, τραγῳδίας 
ὑποκρτὴς τῶν οὐκ ἀξιουμένων ἀνταγωνίζεσθαι τῷ Νέρωνι, ἐπήει τὰς ἑσπερίους 
πόλεις ἀγείρων. καὶ τῇ τέχνῃ χρώμενος ηὐδοκίμει παρὰ τοῖς ἧττον βαρβάροῖϊς. 
πρῶτον μὲν δι᾿ αὐτὸ τὸ ἥκειν παρ᾽ ἀνθρώπους οἱ μήπω τραγῳδίας ἤκουσαν, εἶτ᾽ 
ἐπειδὴ τὰς Νέρωνος μελῳδίας ἀκριβοῦν ἔφασκε. παρελθὼν δὲ ἐς τὰ Ἵπολα φοβερὸς 
μὲν αὐτοῖς ἐφαίνετο καὶ ὃν ἐσιώπα χρόνον ἐπὶ τῆς σκηνῆς; καὶ ὁρῶντες οἱ ἄνθρωποι 
βαδίζοντα μὲν αὐτὸν μέγα, κεχηνότα δὲ τοσοῦτον, ἐφεστῶτα δὲ ὀκρίβασιν οὕτως 
ὑψηλοῖς τερατώδη τε τὰ περὶ αὐτὸν ἐσθήματα, οὐκ ἄφοβοι ἦσαν τοῦ σχήματος, 
ἐπεὶ δ᾽ ἐξάρας τῆν φωνὴν γεγωνὸν ἐφθέγξατο, φυγῇ οἱ πλεῖστοι ᾧχοντο, ὥσπερ ὑπὸ 
δαίμονος ἐμβοηθέντες. 

361. Νικ-, ὕ. 7., victor at the Lenaea ca. 322 8. ο., IG. 11 977 t(o), W. 
p- 145; might be Νικ[ όστρατος-] No. 369 (Wilhelm); but the date is some- 
whai too late. 

362. Νίκανδρος, ὕ. τ. or «., uncertain date, Philodemus De mus. 4. 14, 
p- 80 Kemke, as emended by Wilamowitz Hermes XX XVII (1902), p. 305: 
after refuting a statement of Diogenes of Babylon about Agathon and 
Democritus he continues: οὐδὲ Νίκανδρος ὃ ὑϊ π]οκ[ριτὴς] τοῦτο παρέστησε 


192. HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


διὰ τῶν [ἔργων), ἀλλ᾽ ἐπλάνησεν εἴπερ dpa. This refers back toi. 28, p. 16 K.: 
Nixavdpos δὲ τὸν [ὑποκριτὴν] érdexviper|ov ταῦτα τοῖς ἔργοις διδάξί αι]. Either 
the comic poets or Diogenes were responsible for his reputation for 
lasciviousness, cf. Wilamowitz, loc. cit. The association of his name with 
those of Agathon and Democritus suggests an early date, and makes 
probable the restoration Ni xavdpos-] in IG. II 977 p (e'), W. p. 137, date 
ca. 390 8.0. 

363. Νικόδημος, i. κ΄, acted the Erchieis of an unknown poet at the 
Dionysia in ca. 212 8. c., and was victor the same year, IG. II 915}, 
Ἐρχιεῦσι | ire Νικόδημος, [ὑπο: Νικόδημος ἐνίκα], see p.52 above. Two years 
later acted the ᾽Απε- of Aristocrates, ibid., 1. 7, as restored by Wilhelm, 
p- 68: [won ’Apuoro|xpdrns "Awe-.. 2.1... i}re Νικόδημος. Not to be 
confounded with the comic poet of the second century in IG. II 977 o(m), 
W. p. 134, which Reisch ZOG, 1907, p. 305, wrongly assigns to the Lenaean 
list of comic actors. 

364. Νικόλαος "Hrapérns, τραγῳδός (dis) at the Dionysia at Delos in 279 
Β. c., BCH. VIT (1883), p. 108. 

365. Νικόλαος, ὑ. κι. acted the Homonoia of Agathocles at the Dionysia 
in 155 8.0¢., 1G. 11975 d, W. p. 77. Victor in 158s. c., ibid. Wilhelm, p. 256, 
makes the doubtful suggestion that he is the father of Alexander 5. Nico- 
laus, an Athenian, singer at Delphi in 138 Β. c., BCH. XXX (1906), No. 48, 
p. 272, 1. 15. 

366. Νικόμαχος, ὑ. τ., victor at the Dionysia ca. 448 Β. c., IG. II 977 ple’), 
W. p. 137. Identified with Nicomachus mentioned in Arist. Ran. 1506 
(καὶ δὸς τουτὶ Κλεοφῶντι φέρων. καὶ τουτουσὶ τοῖσι πορισταῖς, Μύρμηκί θ᾽ ὁμοῦ 
καὶ Νικομάχῳ) by Capps AJP. XXVIII (1907), p. 90, cf. schol. ad loc.: οὐδὲ 
yap ὁ Νικόμαχος (50. τῶν ποριστῶν ἦν), ἀλλὰ ἤ τοι ὁ τραγικὸς ὑποκριτής. ἢ 6 
πολίτης. 

367, Νικόμαχος ΠΠολυκλείδον Βοιώτιος, κωμῳδός at the Soteria at Delphi in 
272 Β. c., SGDI. 2563, 1. 54. 

368. Νικόστρατος, ὑ. r., thrice victor at the Lenaea ca. 425 Β. o., IG. II 
977s, restored by Wilhelm, p. 145 [Νικόστρατος III. Restored by Wilhelm 
also as the victor at the Dionysia in 399 Β. c. in IG. II 971e, [ὑποκριτὴς 
Νικόστρατος, Wien. Jahresheft X (1907), p. 39. Nicostratus was one of the 
famous actors of the fifth century. Plutarch mentions him with Callip- 
pides, Mynniscus, Theodorus, and Polus as one of the glories of ancient 
Athens, Mor. 348 f, quoted under No. 230. He and Callippides were re- 
garded as having reached the pinnacle of perfection in tragic acting as 
Lycon in comic, and his greatest success seems to have been in messenger- 
roles. Cf. Philodemus De rhet., p. 197, 1.7, Sudhaus: Καλλιππίϊδης δ]ὲ καὶ 
Νεικόστρατος ty φήσί ὦ] τὸ πᾶν ἐν τραγῳδίᾳ, and the proverb ἐγὼ ποιήσω 
πάντα κατὰ Νικόστρατον, Schneidewin-Leutsch Paroem. Gr. I, p, 395: 
ὁ Νικόστρατος τραγικὸς ὑποκριτὴς δοκῶν κάλλιστα εἰρηκέναι, and prov. Coislin. 
124: ἐπὶ τῶν ὀρθῶς πάντα ποιούντων. ἦν γὰρ ὁ Νικόστρατος ὑποκριτὴς τραγικός, 





PROSOPOGRAPHIA HISTRIONUM GRAECORUM 123 


ἄριστος καὶ μάλιστα ἐν ταῖς τῶν ἀγγέλων ἐπαγγελίαις. ὅθεν καί τινες εἶπον “ἐγώ 
τοι φράσω πάντα κατὰ Νικόστρατον." Suidas 5. ἐγὼ ποιήσω falsely says: 
κωμῳδίας ἢν ὑποκριτής. Polyaenus 6. 10 relates that Alexander, phrurarch 
of Aetolia, hired τῶν az’ Ἰωνίας τοὺς ἀρίστους ἀγωνιστάς, αὐλητὰς μὲν Θέρ- 
σανδρον καὶ Φιλόξενον, ὑποκριτὰς δὲ Καλλιππίδην καὶ Νικόστρατον. See full 
passage under No. 274. This was before 392 8. ο., Volker, p. 177, οἵ. 
Xen. Hell. 4.8.18. His recitation of tetrameter lines to the accompani- 
ment of the flute seems to have been especially pleasing. Xen. Symp. 
6.3: ἢ οὖν βούλεσθε, ἔφη, ὥσπερ Νικόστρατος ὃ ὑποκριτὴς τετράμετρα πρὸς TOV 
αὐλὸν κατέλεγεν, οὕτω καὶ ὑπὸ τὸν αὐλὸν ὑμῖν διαλέγωμαι. Meineke I, p. 347. 

369. Νικόστρατος, v. τ., brought out a play of Euripides as παλαιά at 
the Dionysia in 339 8. c., IG. II 973, 1.32. Plausibly restored by Wilhelm, 
Ρ. 26, in IG. IT 971 f as victor at the Dionysia in 331 8. σ., [ὑποκριτὴς] 
Nux[oorpatos?|. Probably to be restored with Wilhelm, p. 145, in the 
Lenaean list of victors in IG. II 977 w(z) Ν[ικόστρατος-], ca. 330 B.c.; or 
below Nix{ dorparos-], ca. 322 B. c., which is somewhat too late. 

370. Νικόστρατος Κασσανδρεύς, τραγῳδός at the Dionysia at Delos in 
282 8. c., BCH. VII (1883), p. 105. 

371. Νικόστρατος, tragic synagonist, ambassador of the technitae of 
Asia and the Hellespont to the people of Iasos ca. 151 8. c., Lebas-Wad. 
IIT 281, Michel 1014. 

372. Νικόστρατος Φιλοστράτου Θηβαῖος, as κωμῳδός victor at the Charite- 
sia at Orchomenus 100-75 B.c., IG. VII 3195, κωμαρυδός, N. Φιλοστράτω 
Θειβεῖος: at the Charitesia and at the Homoloia, ibid. 3196. 

373. Νικοτέλης Κάπωνος Θεσπιεύς, aS τραγῳδός victor at the Charitesia at 
Orchomenus 100-75 B. c., IG. VII 3196; also κῆρυξ on the same occasion. 

374. Νικοφῶν Θεοκλέου ᾿Αθηναῖος, tpaywods at the Soteria at Delphi in 
270 B. o., SGDI. 2565, 1.49. Kirchner, No. 11076. 

375. Νίκων, v. 7., twice (2-++) victor at the Lenaea ca. 300 8. ο., IG. IT 
977 w(b'), W. p. 145. Wilhelm, p. 146, suggests that he may be the 
father of the tragic didascalus Hierocles s. Nicon of Athens who appeared 
at the Soteria at Delphi in 271 and 270 8. c., SGDI. 2564, 1. 54, 2565, 1. 51. 

376. Νίκων Ἡρακλείτου ᾿Ηπειρώτης, κωμῳδός at the Soteria at Delphi in 
270 3B.o., SGDI. 2565, 1. 65. His name appears ibid, 2564, |. 80, as 
ἱματιομίσθης, but this is probably a graver’s error for Νίκων Μενεκλέους 
Σολεύς, ἱματιομίσθης in 2563, 1, 76, cf. Capps TAPA. ΧΧΧῚ (1900), p. 127. 
Preuner Delph. Weihgeschenk, p. 76, less probably assumes a change in 
function. If IG. II 977 την (α΄) is to be assigned to Lenaean comic 
actors, as Reisch Z6G. 1907, p. 306, thinks, [Νίκω]ν II is to be restored 
there, as Wilhelm, p. 165, proposes, and identified with this comic actor 
or with the following. 

377. Νίκων Εἰὐμαθίδα Λακεδαιμόνιος, κωμῳδός at the Soteria at Delphi in 
270 8. c., SGDI. 2565, 1.59. Possibly, as Wilhelm suggests, p. 165, to be 
restored in IG. 11 977 m'(a’), Νίκω]ν I. 


124 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


378. Νίκων Νικία Μεγαλοπολίτας, rpaywoos, ἐπέδωκε τῷ θεῷ ἁμέραν καὶ 
ἀγωνίξατο καὶ εὐδοκίμησε. in a Delphic proxeny decree, ca. 16] B. ο., SGDI. 
2799 and 2581, 1. 308 (Nuxéov). 

379. Νίκων ᾿Αριστίωνος, Athenian, tragic synagonist representing the 
Athenian guild of technitae at Delphi ca. 97 B.c., BCH. XXX (1906), 
No. 49, p. 278, 1. 81. Not in Kirchner. 

380. Νουμήνιος ‘Eppadvaxros ᾿Αργεῖος, κωμῳδός at the Soteria at Delphi 
in 269 B.c., SGDI. 2566, 1. 61. 

B81. Bevédhavros Εὐὐμάχον, Athenian, tragic synagonist representing 
the Athenian guild at Delphi ca. 97 8.c., BCH. XXX (1906), No. 49, 
p. 278, |. 88. Not in Kirchner. 

51 a. ἘΞενοφῶν Tpvpvaios, v. 7., see p. 143. 

382. Bévev, ὑ. r., once victor at the Lenaea ca. 310 B.c., IG. IT 977 v(x), 
W. p. 145. 


383. Olaypos, ὑ. τι, fifth century B.c., Arist. Vesp. 579: κἂν Οἴαγρος 
εἰσέλθῃ φεύγων. οὐκ ἀποφεύγει πρὶν ἂν ἡμῖν | ἐκ τῆς Νιόβης εἴπῃ ῥῆσιν τὴν 
καλλίστην ἀπολέξας, and schol. ad loc.: ὅτι τραγικὸς ὑποκριτὴς εἴρητο πρότερον. 
ὡς θαυμάζων αὐτόν φησιν... . καὶ γὰρ ὑπεκρίθη τὴν Νιόβην ἢ Σοφοκλέους ἢ 
Αἰσχύλου. The reference εἴρητο πρότερον is probably, as Volker after 
Richter suggests, to schol. ad 566, on Aesopus, where the name of 
Oeagrus has fallen out (6. g., ὡς καὶ Olaypos). The text of Aristophanes 
gives sufficient indication that he was a tragic actor, and of some stand- 
ing. Volker, p. 158, thinks that the Niobe of Sophocles is referred to. 

384. Οἰκιάδης Νικάνδρου Κασσανδρεύς, τραγῳδός at the Soteria at Delphi 
in 272 8.c., SGDI. 2563, 1. 32, where the editors restore [ΝιἸκιάδης. The cor- 
rect reading was found by Capps TAPA. XX XT (1900), p. 125, comparing 
BCH. VIT (1883), p. 109, where Οἰκιάδης is among the τραγῳδοί at the 
Dionysia at Delos in 268 8.c. He is mentioned first in his company at 
Delphi. Cf. Preuner Delph. Weihgeschenk, p. 75. 

B84a. Αὖλος Olvers, τραγῳδός, oflicer of a guild of technitae ca. the time 
of Caracalla, CIG. TV 6829, 1. 19: καὶ (ἐπὶ) νομοδίκίτ)ου AtAov Oivelw]s 
τραγῳδοῦ παραδόξου. Probably a decree of the Teian guild at Lebedos. 

385. ᾿Ονήσιμος, ὑ. κι, acted an unknown play at the Dionysia in 183 B. oc. 
and in the Nauagos of Paramonus, and was that year the victor, IG. II 
975b, col. ii, W. Ρ. 72. 

386, Οὐλιάδης Καλλικράτου Μιλήσιος, tpaywdds at the Soteria at Delphi 
in 272 and 271 5. ο., 56 1. 2563, |, 42, 2564, 1.45. He is both times 
mentioned first in his company. 


B87. TI-, ὑ κι, acted a play by Timotheus ca, 197 5. o., IG. IT 975f, col. 
ii, W. p. 66. Tf with Reisch ZG. 1907, p. 299, frag. f is to be joined to 
col. i of frag. b, the play was the Dactylion and the actor I]... . ov. 





PROSOPOGRAPHIA HISTRIONUM GRAECORUM 125 


SES: ΠΕ τ πὰς , Athenian, tragic synagonist representing the 
Athenian guild of technitae at Delphi in 106 8. c., BCH. XXX (1906), 
No, 50, p. 288, 1. 33. 

389. II... . wv, v. κι, see No. 387. Probably Π[ολέμ]ων. 

389 a. Tlappévns, v. τ.. time of Hadrian, Philost. Vit. soph. 2.7, p. 288: 
τῇ ye UvOot . . . . ὅτε Παμμένης ἐπὶ τραγῳδίᾳ ἐθαυμάσθη, καί μοι ἔδοξαν ot 
σοφοὶ Ἕλληνες οὐ χρηστὸν πρᾶγμα ἐργάζεσθαι τὰ τῶν Πελοπιδῶν καὶ τῶν Λαβ- 
δακιδῶν κακὰ ξὺν ἧδονῃ ἀκούοντες, referring evidently to the performance of 
old tragedies at Delphi. The Pammenes mentioned by Cass. Dio 63. 8, 
whose floruit was under Gaius, seems to have been a citharode. 

390. Πάμφιλος, v. τ., victor at the Lenaea ca. 235 B.c., IG. II 977 g(a’), 
W. p. 141, assigned to Lenaean comic actors by Reisch Z6G. 1907, p. 306. 

391. Tlapdpoves Χαλκιδεύς, tpaywdds at the Dionysia at Delos in 259 8. c., 
BCH. VII (1883), p. 113, where Hauvette-Besnault reports Σωτίων ’Axap- 
viav, Ἦ]Ϊλις Παράμονο [ ...... Ἰδεύς, corrected by Capps TAPA. ΧΧΧῚ 
(1900), p. 119 (confirmed by Robinson AJP. XXV [1904], p. 190) to 
>. ᾿Ακαρνὰν δίς, Παράμονος Χαλκιδεύς. 

392. Tlapiwv, κωμῳδός at the Dionysia at Delos in 268 85. c., BCH. VII 
(1883), p. 112. 

393. Παρμένων, v. κι, once victor at the Lenaea ca. 353 B. c., IG. 11 977 
a(p), ΝΥ. p. 150. Aeschines refers to him in 345 8. c., Tim. 157: πρώην ἐν 
τοῖς κατ᾽ ἀγροὺς Διονυσίοις κωμῳδῶν ὄντων ἐν Κολλυτῷ καὶ Παρμένοντος τοῦ 
κωμικοῦ ὑποκριτοῦ εἰπόντος τι πρὸς τὸν χορὸν ἀνάπαιστον, ἐν ᾧ ἣν εἶναί τινας πόρ- 
νους ᾿ μεγάλους Τιμαρχώδεις. The scholiast ad loc. simply repeats the 
statement (where read ὃ κωμικὸς (ὑποκριτής). His skill in imitating a 
pig’s squeal became proverbial, Plut. Mor. 6746: ἐπεὶ τί πάσχοντες ἢ Tivos 
ἔξωθεν γενομένου πάθους τὴν bv τὴν Παρμένοντος οὕτως ἐθαύμασαν. ὥστε παροι- 
μιώδη γενέσθαι; καίτοι φασὶ τοῦ Παρμένοντος εὐδοκιμοῦντος ἐπὶ τῇ μιμήσει, 
ζηλοῦντας ἑτέρους ἀντεπιδείκνυσθαι- προκατειλημμένων δὲ τῶν ἀνθρώπων καὶ 
λεγόντων ‘ed μέν, ἀλλ᾽ οὐδὲν πρὸς τὴν Παρμένοντος tv,’ ἕνα λαβόντα δελφάκιον 
ὑπὸ μάλης προελθεῖν: ἐπεὶ δὲ καὶ τῆς ἀληθινῆς φωνῆς ἀκούοντες ὑπεφθέγγοντο 
“τί οὖν αὕτη πρὸς τὴν Παρμένοντος tv;’ ἀφεῖναι τὸ δελφάκιον εἰς τὸ μέσον, ἐξ- 
ἐλέγχοντα τῆς κρίσεως τὸ πρὸς δόξαν οὐ πρὸς ἀλήθειαν. Cf. Mor. 18, quoted 
under No. 230, Paroem. Gr. 1, p. 412, 81. Aristotle refers to his thirst 
during a performance as characteristic of men laboring under great emo- 
tions, Prob. 948 α 3: οὐδαμοῦ yap οὕτω διψῶσιν. καὶ of ἀγωνιῶντες δὲ σφόδρα, διὸ 
καὶ διακλύζονται καὶ ἐπιῤῥοφοῦσι, καθάπερ ἸΤαρμένων ὃ ὑποκριτής. Volker 215. 

393 a. Παῦλος, κωμῳδός, ca. 400 Α. »., Anth. xi. 263 (Palladas): Παύλῳ 
κωμῳδῷ Kat’ ὄναρ στὰς εἶπεν Μένανδρος - οὐδὲν ἐγὼ κατά σου Kal σὺ κακῶς με λέγεις. 

394, ἸΤαυσανίας Λυκίσκου, Athenian, comic synagonist representing the 
Athenian guild of technitae at Delphi ca. 97 B. c., BCH. XXX (1906), 
No. 49, p. 278, 1. 35. Not in Kirchner. 

395. Παφιανὸς [Laguos τη) [δ᾽͵ ὑπὸ γῇ λέλυμαι, | κωμῳδός, λιφθεὶς τὸν βιότου 
στέφανον, IG. XIV 411 (Messana), Kaibel Ep. Gr. 605, uncertain date. 


126 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


396. Tle-, an actor praised in an Athenian decree of second half of the 
fourth century, IG. IT 2806, restored by Wilhelm, p. 219: ἐπειδὴ O[e?—] 
ὁ trroxpl iris τοῖς τε Διονυσίοις ὑπεκρ])ίνατί οἱ φιλοτίμως, cf. IG. II 213, of about 
the same date, restored by Wilhelm, p. 221: ὑποκρινόΐ μενος τὰ αὐτοῦ Spapar ja 
καὶ οὐδέ [ποτε παραλείπων Ἶ τὸν] ἀγῶνα τὸν Δ[ιονυσίων], ete. 

397. Πειθάνωρ | ] Σικνώνιος, τραγῳδός at the Soteria at Delphi in 271 
B. ©., SGDI. 2564, 1.55. He is mentioned first in his company. 

398. Πειθίας ‘Efawvérov ᾿Αρκάς, tragic didascalus at the Soteria at 
Delphi in 269 B.c., SGDI. 2566, 1.54. Identical with Tla@ias Ἐξαινέτον 
Μαντινεύς, tit. sep. IG. 11 3174. Liiders Dion. Kiinst., p. 139, identifies 
Exaenetus with Epaenetus, father of the tragic didascalus Moschion, 
No. 350. 

399. Πίνδαρος, probably late fifth or early fourth century B.c., Arist. 
Poet. 25. 1461b 35: ὡς λίαν yap ὑπερβάλλοντα ᾿πίθηκον᾽ ὁ Μυννίσκος τὸν 
Καλλιππίδην ἐκάλει. τοιαύτη δὲ δόξα καὶ περὶ Πινδάρου ἦν. Nothing further is 
known of him, but that he was a tragic actor and of a period subsequent 
to Mynniscus (ca. 460-420) is clearly to be derived from the text of Aris- 
totle, as Vélker, p. 155, shows. Some of the inferior MSS give τινδαρίου, 
τὴν dapeiov, Whence Hermann Τυνδαρέου, Ritter Θεοδώρου. Volker suggests 
Τιμοθέου. A grave-monument to an Athenian Πίνδαρος, end of fifth century, 
IG. I 447, col. ii, 1.11. If the text is corrupt, there is no clue to its resto- 
ration. 

B99 a. Πιτθεύς, ὑ. κι once victor at the Lenaea ca. 256 B.c., 1G. ΠῚ 977 y(u), 
W. p. 153. | 

400. Πλεισθένης, ὑ. 7., once victor at the Dionysia ca. 282 5. ας, 1G. IT 
97771), W. p. 159. Wilhelm compares E. Miller Mélanges de litt. gr., 
p. 355: Αἰάντειος γέλως - μέμνηται ταύτης Μένανδρος ἐν Περινθίᾳ τῇ πρώτῃ 
λέγουσι δὲ ὅτι ΠΠ]λεισθένης ὁ ὑποκριτὴς τὸν Καρκίνου Αἴαντα ὑπεκρινόμενος 
εὐκαίρως ἐγέλασε. τοῦ yap ᾿Οδυσσέως εἰπόντος ὅτι τὰ δίκαια χρὴ ποιεῖν. μετὰ 
εἰρωνείας ὁ Αἴας τῷ γέλωτι ἐχρήσατο. Pleisthenes must have made his hit 
when bringing out the Aias of Carcinus as an old play. 

401, Πο- ὑ. 7., victor at the Lenaea ca. 332 B.c., IG. I] 977 u(z), W. 
p. 145. 

402. Tlo- i. κι, acted at the Dionysia between 185 and 170 8. ¢., Τὰ. IT 
975 g. Probably Ποίλύξενος } with Wilhelm, p. 80, a name restored by 
Capps TAPA. XXXTI (1900), p. 123, in frag. ec, 180-170 8. c., and identified 
with the Delian comic actor, No. 410. Might, however, be Πολέμων), 
No. 389. 

403. ἸΠολνάρατος Εἰὐδόξον Κυρηναῖος, κωμῳδός at the Soteria at Delphi 
in 272 p.c., SGDI, 2563, 1.57. He is mentioned first in his company. 

404. TloAteuxros, ὑ. κι, once victor at the Lenaea ca. 306 B. c., Τὰ. IT 977 
y(u), W. p. 153. 

405. ἸΠολύζηλος, ὑ. κι. victor at the Lenaea ca. 268 B, c., IG. ΠῚ 977 y(u), 
W. p. 153. 





PROSOPOGRAPHIA HISTRIONUM GRAECORUM Το 


406. ΙΠολυκλῆς, 0. κι» κωμῳδός at the Dionysia at Delos in 280 Β. ο., BCH. 
VIT (1883), p. 106, identified by Capps AJP. XXI (1899), p. 403, and AJA. 
IV (1900), p. 81, with Πολ- in IG. 11 977 y(w), W. p. 153 (Lenaea, ca. 275 
Β. 6.), and with Πολυκ- ibid. frag. c(w), W. p. 156 (Dionysia, ca. 278 8. c.). 
In SGDI. 2563, 1.59 (272 B.c.), the κωμῳδός is probably to be restored [Πολὺ] 
κλῆς Διοκλέους ᾿Αθηναῖος, cf. TAPA. ΧΧΧῚ (1900), p. 126. See No. 523. 
He is third in the company at Delphi; cf. Nos. 124,218. Not in Kirchner. 

407. ἸΤολύκριτος Κασσανδρεύς, κωμῳδός at the Dionysia at Delos in 259 
B. σ., BCH. VII (1883), p. 118. : 

408. ἸΠολύκριτος, ὗ. 7., once victor at the Lenaea ca. 230 B.c., IG. IT 
977 g(a’), W. p. 141, assigned to Lenaean list of tragic actors by Reisch 
Z6G. 1907, p. 306. Wilhelm proposes to restore Polycritus in the Athenian 
lists IG. II 977y and ο΄, ca. 275 and 278 B.c., but the date of his appear- 
ance at Delos is against this, especially since another identification is 
more suitable; see No. 406. 

409. ἸΠολυνε[ίκης. . . .- Jov Χαλκιδεύς, κωμῳδός at the Dionysia at Delos 
in 259 5. c., BCH. VII (1883), p. 113; ef. TAPA. XX XI (1900), p. 119. 

410. Πολύξενος, κωμῳδός at the Dionysia at Delos in 171 8.c., BCH. 
IX (1885), p. 147, identified by Capps TAPA. XXXI (1900), p. 123, with 
[MoAvElevos, victor at the Dionysia at Athens ca. 180 B.c., IG. II 975e, 
col. i, see No. 511; restored by Wilhelm, p. 80, also in 975 g HolAvéevos |, 
see No. 402. 

411. Πολύξενος ᾿Ανδρύτα ᾿Οπούντιος, aS ὗ. καινῆς κωμῳδίας Victor at the 
Amphiaraia at Oropus soon after 86 8, ο., Τα. VIT 420. 

412. TloveSévos, tpaywdds, by the technitae of Asia and the Hellespont 
νεμηθεὶς σὺν τῇ ὑπηρεσίᾳ ἐπιτελεῖσαι τοὺς τῶν Διονυσίων τοὺς ἐν ᾿Ιάσῳ ἀγῶνας, 
ca. 151 B.c., inse. Iasos, Lebas-Wad. IIT 281, Michel 1014. 

413. TIpatias or Πραξιάδης, ὑ. 7., victor at the Lenaea ca. 326 8. ο., IG. 
II 977 é(z), W. p. 145, pag — }. 

414, IIpatias Kparéov Τεγεάτης, κωμῳδός at the Soteria at Delphi in 
269 B.c., SGDI. 2566, 1. 70. 

415. ἸΤραξιτέλης Ocoyévov, Athenian, τραγῳδός at Delphi representing 
the Athenian guild of technitae ca. 97 B.c., BCH. XXX (1906), No. 49, 
p. 278, 1. 36; apparently comic synagonist, ibid., No. 50, p. 288, 1. 31, 
106 B.c. Related to Πραξιτέλης Θεογένου Φλυεύς, ephebe in 105 8. ο., 1G. IT 
465, 1. 82, and κῆρυξ at the Sarapieia at Tanagra, 100-75 Β. ο., IG. VIT 540. 
Kirchner No. 12176. 

416. IIpérapx[os . . . . Tavplopevirys, 0. κωμῳδίας, uncertain date, inser. 
Cos, Paton and Hicks, p. 100. 

417. Πτολεμαῖος, tragic synagonist, member of the guild of technitae 
at Ptolemais, reign of Ptolemy Philadelphus, BCH. IX (1885), p. 132, 
Michel 1017, Ditt. Inse. Or. Gr. 51. 

418. IIv@dparos, ὑ. x., once victor at the Lenaea ca. 264 8. c., [G. IT 977 
y(w), W. p. 153. 


193 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


419. Πυρραλεύς, ὑ. κ΄, once victor at the Lenaea ca. 392 B.c., IG. 11977 
y(u), W. p. 153. 

420. Πύρριχος, ὑ. κι. victor at the Lenaea ca. 296 Β. c., IG. Il 977 w(b’), 
W. p. 145. 

421. ἸΠῶλος Αἰγινήτης, ὑ. τι. one of the most famous of tragic actors. 
We chance, however, to have no inscriptional evidence for his date and 
he is not mentioned by any of his contemporaries. We are accordingly 
obliged to derive the facts of his life from the anecdotes and allusions 
which occur in the later literature. Now all these writers, Strabo, Plutarch, 
Lucian, Pausanias, Aelian, Gellius, etc., seem to know of but one tragic 
actor Polus,and they refer to him as one of the most distinguished. All 
the notices can be consistently combined as referring to one and the 
same actor, except, in the main, two: Whereas Plut. Vit. Dem. 28 calls 
him an Aeginetan and a pupil of Archias of Thurii (No. 87), who hunted 
Demosthenes to death in 322 B. ον: καὶ τὸν Αἰγινήτην Πῶλον, τὸν ὑπερβαλόντα 
τῇ τέχνῃ πάντας. ἐκείνου (i. 6., Πώλου) γεγονέναι μαθητὴν ἱστοροῦσιν (quoted in 
full under No. 87), Luc. Necyom. 16 speaks of Polus as the son of Charicles 
of Sunium: οἶμαι δέ σε καὶ τῶν ἐπὶ τῆς σκηνῆς πολλάκις ἑωρακέναι τοὺς τραγικοὺς 
ὑποκριτὰς τούτους πρὸς τὰς χρείας τῶν δραμάτων ἄρτι μὲν Κρέοντας, ἐνίοτε δὲ 
Πριάμους γιγνομένους ἢ ᾿Αγαμέμνονας. καὶ ὁ αὐτός, εἰ τύχοι μικρὸν ἔμπροσθεν 
μάλα σεμνῶς τὸ τοῦ Κέκροπος ἢ Ἐρεχθέως σχῆμα μιμησάμενος μετ᾽ ὀλίγον οἰκέ- 
της προῆλθεν ὑπὸ τοῦ ποιητοῦ κεκελευσμένος - ἤδη δὲ πέρας ἔχοντος τοῦ δράματος 
ἀποδυσάμενος ἕκαστος αὐτῶν τὴν χρυσόπαστον ἐκείνην ἐσθῆτα καὶ τὸ προσωπεῖον 
ἀποθέμενος καὶ καταβὰς ἀπὸ τῶν ἐμβατῶν πένης καὶ ταπεινὸς περίεισιν οὐκέτ᾽ 
᾿Αγαμέμνων ὁ ᾿Ατρέως οὐδὲ Κρέων ὁ Μενοικέως, ἀλλὰ Πῶλος Χαρικλέους Σουνιεὺς 
ὀνομαζόμενος ἢ Σάτυρος Θεογείτονος Μαραθώνιος. and Plutarch Epist. de 
amicitia vii, p. 117 Bernadakis (Stob. Flor. iii, p. 211 Mein.) relates ἃ 
supposed conversation of Socrates with Archelaus, in which the former 
refers to the acting by Polus of the roles of Oedipus the King and 
Oedipus the Beggar: ἢ οὐχ ὁρᾷς, ὅτι οὐκ εὐφωνότερον οὐδὲ ἥδιον ὁ Πῶλος τὸν 
τύραννον Οἰδίποδα ὑπεκρίνετο ἢ τὸν ἐπὶ Κολωνῷ ἀλήτην καὶ πτωχόν; εἶτα χείρων 
Πώλου ὁ γενναῖος ἀνὴρ φανεῖται, ὡς μὴ πᾶν τὸ περιτεθὲν ἐκ τοῦ δαιμονίου πρό- 
σωπὸν ὑποκρίνασθαι καλῶς; οὐδέ γε τὸν ᾿Οδυσσέα μιμήσεται. ὅστις καὶ ἐν τοῖς 
ῥάκεσιν οὐδὲν μεῖον διέπρεπεν ἡ ἐν τῇ οὕλῃ χλαίνῃ τῇ πορφυρᾷ; From this it has 
been inferred that this Polus, a contemporary of Socrates, played these 
roles at the original production of the two plays of Sophocles (ca. 480 
and 401 8.c.), and certainly the first production of the Oedipus Coloneus 
must have been meant, for Socrates died in 399. This Polus cannot have 
been the pupil of Archias, whose first victory at the Lenaea was won ca. 
328 5, ὁ, (977 t, above, p. 62), nor can either the pupil of Archias or the 
contemporary of Socrates have been the one who demonstrated to Demos- 
thenes the value of delivery, ef. Anon. Rhet. 6, p. 35 Walz: ἐρωτηθεὶς 
γοῦν more, τί ἂν εἴη ῥητορική, "ὑπόκρισις ᾿ ἔφη, ἣν καὶ τελεώτερον Πῶλος ὁ ὑπο- 
κριτὴς λέγεται αὐτὸν ἐκδιδάξαι. But this story of Anon. Rhet. is not to be 
trusted; Plut. Vit. Dem. 7 says that it was the tragic actor Satyrus who 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 129 


gave this lesson to the orator (see passage under No. 430). Taking the 
the above statements as authentic, we should have to assume, not two 
actors Polus, with Schafer Dem. τι. seine Zeit Τ᾿, p. 244, and Vélker, 
pp. 185 ff., but three: (1) the contemporary of Socrates, (2) the teacher of 
Demosthenes, and (3) the pupil of Archias, the Aeginetan. Hither (1) or 
(2) would be the Sunian. This argument, however, while logical, is 
uncritical. The anecdotes about Socrates and of the connection of 
Demosthenes with actors are full of anachronisms. More weight should 
be given to the following considerations in favor of a single Polus, of the 
last quarter of the fourth century: Demosthenes, Aristotle, and the other 
fourth-century writers mention no Polus, as they almost certainly would 
have if he had been one of the famous actors of their time or before. 
Further, all the late writers who mention Polus know of only one of the 
name, and what they say would apply to an actor of the end of the fourth 
century, if we except the anecdotal allusions in the stories about Socrates 
and Demosthenes. Again the fragments of the Victors’-lists which we 
possess cover fairly the period in which a tragic actor who first acted the 
Oed. Rex would have been likely to win his first victory (i. e., from 449 to 
ca. 430, Dionysia, and from ca. 432 to ca. 400, Lenaea, see above, pp. 61 ff.), 
while the period of Demosthenes is entirely covered by the Lenaean list 
(p. 62, col. ii above) and also the period of Archias down to ca. 318 8. c. 
The name of Archias himself occurs in a position which implies a first 
victory ca. 328. A pupil of his, if he won a Lenaean victory, would have 
appeared in the Victors’-list a decade or so after; the name of Polus 
could have stood in the lacuna at the top of col. iv, somewhere near 315 
B.c., and in a corresponding position in the City list, now lost. The 
positive and the negative evidence, taken as a whole, tends to discredit 
the testimony of Plut. De amic., who was simply concerned with putting 
illustration in the mouth of Socrates, regardless of the anachronism 
involved. As for the statement of Lucian, who calls Polus a Sunian, it is 
difficult to estimate its credibility. Kirchner No. 12536 says: ‘“ De patro- 
nymica et demotico dubito.” It is noteworthy that Lucian is our only 
source for the full name of Satyrus as well as for Polus; he probably 
invented the prosaic plain citizen-name for rhetorical contrast with the 
heroic names “Agamemnon son of Atreus,” and “Creon son of Menoeceus.” 
However, it is possible to accept his statement by assuming that Polus of 
Aegina, like many other actors and poets, was admitted to Athenian 
citizenship. 

Concluding, then, that there was but one Polus, what we know of him 
is as follows: An Aeginetan (Plut., 1. c.), possibly the son of Charicles 
and admitted into Athenian citizenship as a Sunian (Lue., l.c.). A pupil 
of Archias of Thurii (Plut., 1. c.), his first success in the contest was 
achieved ea. 318-315 (IG. II 977 v, W. p. 145, above, p. 63). With Nicos 
tratus, Callippides, Mynniscus, and Theodorus he was counted by Plut. 


130 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


Mor. 348 f (quoted above under No. 230) as among the glories of ancient 
Athens. Mentioned with Aristodemus by Luc. Apol. 5, Jup. trag. 3, and 
with Aristodemus and Satyrus by Luc. Jup. trag. 41 (all quoted under 
No. 62). That he was especially famous for his acting of classic réles 
may be inferred from Plut. De amic., |. c. (Oedipus Rex, Oedipus Colo- 
neus), and Aul. Gel. 6. 5, referring to Soph. Elec. 1126: historia de Polo 
histrione memoratu digna . . . . histrio in terra Graecia fuit fama celebri, 
qui gestibus et vocis claritudine et venustate ceteris antistabat; nomen 
fuisse aiunt Polum; tragoedias poetarum nobilium scite atque asseverate 
actitavit. is Polus unice amatum filium morte amisit. eum luctum quoniam 
satis visus est eluxisse, rediit ad quaestum artis. in eo tempore Athenis 
Electram Sophoclis acturus gestare urnam quasi cum Orestii ossibus debe- 
bat. ita compositum fabulae argumentum est, ut veluti fratris reliquias 
ferens Electra comploret commisereaturque interitum eius, qui per vim 
exstinctus existimatur. igitur Polus lugubri habitu Electrae indutus 
opplevit urnam a sepulcro tulit filii, et quasi Oresti amplexus opplevit 
omnia non simulacris neque imitamentis, sed luctu atque lamentis veris 
et spirantibus. itaque quum agi fabula videretur, dolor actus est. 
Theodorus also acted this rdle (No. 230). The willingness of great actors 
like Polus to play the servant to an inferior actor’s king is illustrated 
by Plut. Mor. 816 f (quoted under No. 280). Plut. Mor. 185 relates, on 
the authority of Eratosthenes and Philochorus, that he lived to be 70 years 
old and was active until the end: Πῶλον δὲ τὸν τραγῳδὸν "Eparooberns 
καὶ Φιλόχορος ἱστοροῦσιν ἑβδομήκοντ᾽ ἔτη γεγενημένον ὀκτὼ τραγῳδίας ἐν τέτταρ- 
σιν ἡμέραις διαγωνίσασθαι μικρὸν ἔμπροσθεν τῆς τελευτῆς. Aclian De animal. 
7.40 relates: Πώλῳ μὲν τῷ τῆς τραγῳδίας ὑποκριτῇ ὁ κύων ὁ τρόφιμος αὐτοῦ 
τεθνεῶτι καὶ καομένῳ ἑαυτὸν συνκατέπρησε τῇ πυρᾷ ἐμπεδήσας. The anecdote 
in Vit. X Orat. 8486: Πώλου δέ ποτε τοῦ ὑποκριτοῦ πρὸς αὐτὸν εἰπόντος. ὅτι 
δυσὶν ἡμέραις ἀγωνισάμενος τάλαντον λάβοι μισθόν. " ἐγὼ 8,’ εἶπε, ᾿ πέντε τάλαντα 
μίαν ἡμέραν σιωπήσας, is told by Aul. Gell. 11. 9, 2, on the authority of 
Critolaus, of Aristodemus (quoted under No. 230), and is put into the mouth 
of C. Gracchus and referred to Demades instead of to Demosthenes, the 
actor not being mentioned, id. 11. 10. 3: quo in tempore Graecus tragoe- 
dus gloriae sibi ducebat talentum magnum ob unam fabulam datum esse, 
homo eloquentissimus civitatis suae Demades ei respondisse dicitur, 
“mirum tibi videtur si tu loquendo talentum quaesisti? ego, ut tacerem, 
decem talenta a rege accepi.” 


422. Ῥαδάμανθυς, Athenian, κωμῳδός at Delphi representing the 
Athenian guild of technitae in 138-128 B.o., BCH. XXX (1906), No. 48, 
p. 218, 1. 25 “Pad{duavOvs|. Probably related to Ῥαδάμανθυς “Arrivov, 
πυθαιστὴς παῖς in 138 5. ο.. ibid, p. 198, 1. 15, and θεωρός in 128 B. c., 
ibid., p. 196, 1.12. Not in Kirchner. 

423. “Ῥοῦφος 'Ῥόδιος, κωμῳδός, uncertain date, Rhodian decree, IG. XII 
i 84: [4] βου λ]ὰ Ῥοῦφ[ον ....... | Ῥοδίων κωμῳδὸν [A]al μπρὸν ἐκ] παρα- 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 1591’ 


δόξου στεφάν! ὠὡθέντα] ἱεροὺς ἀγῶνάς με GL σπερ τᾶς] is τὴν ὑπόκρισιν ἀκριβὶ είας ὡς 
τᾶς] τῶν ἠθῶν σεμνότητί ος ἕνεκεν |. 


424. Σ-, ὑ. x. (ἢ), IG. II 977 πν(αΊ, W. p. 164. 

425. Σ-, ὑ. x. (2), ca. end of third century, IG. IIT 976, W. p. 88, ὑπε Σ-. 

426. Za-, ὑ. κ΄ (5), ca. end of third century, IG. IIT 976, W. p. 88, ize Sa-. 

427. Σαννίων, κωμῳδός (dis) at the Dionysia at Delos in 284 B. c., BCH. 
VII (1883), p. 104. 

428. Σαρπηδὼν ᾿Ακμονεὺς καὶ ᾿Εἰφέσιος, παῖς κωμῳδός, honored by the 
Ephesians τῆς περὶ τὴν ὑπόκρισιν ἐμπειρίας (ἕνεκα), νικήσας τὸν ἀγῶνα τῶν μεγά- 
λων ἱερῶν ᾿Αρτεμισίων. Inse. Brit. Mus. 606, uncertain date. 

429. Σάτυρος ᾿Ολύνθιος, v. x., Six (or 6+-) times victor at the Lenaea ca. 
375 8. o., IG. Il 977 τ(), W. p. 161, 252 (where the name is correctly 
restored for K6hler’s ({Zaéz|vpos). Contemporary. of Theodorus, Plut. 
Mor. 545 [: οἷον 6 τῶν τραγῳδιῶν ὑποκριτὴς Θεόδωρος εἰπεῖν ποτε πρὸς TOV κωμι- 
κὸν λέγεται Σάτυρον, ὡς οὐ θαυμαστόν ἐστι τὸ γελᾶν ποιεῖν τοὺς θεατὰς ἀλλὰ τὸ 
δακρύειν καὶ κλαίειν. He exhibited before Philip in the games given in cele- 
bration of the capture of Olynthus in 348 Bs. c., and asked as his prize the 
release of the daughters of a friend, Dem. 19. 193 (Σάτυρον τὸν κωμικὸν 
ὑποκριτήν) and scholium; Diodorus 16. 55 (Σάτυρον τὸν ὑποκριτήν), Libanius 
14, Harp., Phot., and Suid. 5. ὅτι ξένους. Aesch. 2.156 (Sarvupov τὸν κωμικὸν 
ὑποκριτήν), mocking Demosthenes, adds ὡς δεινόν, εἰ 6 μὲν τοὺς Kapiwvas καὶ 
Ἐανθίας ὑποκρινόμενος οὕτως εὐγενὴς καὶ μεγαλόψυχος γένοιτο, ἐγὼ δὲ, etc., allud- 
ing to the success of Satyrus in slaves’ réles. The act was attributed by 
some to Phocion, Suid. 5. Φωκίων. Volker, p. 214. He was an Olynthian 
according to Ath. 5916, Σάτυρος ὁ ᾿λύνθιος ὑποκριτὴς (παρεσίτει) Παμφιλῃ; 
but the epithet may have been due to the incident above referred to. 
To be distinguished from the tragic actor, No. 430, with Schifer Dem. τι. 5. 
Zeit I’, p. 246, Liiders Dion. Kiinst., p. 65, n. 121, and Vélker, p. 212, 
ef. Kirchner No. 12604. But the distinction depends wholly upon 
Lucian, and the name in him may be fictitious and due to the desire 
for rhetorical effect. See No. 421, end, and No. 6380. 

430. Σάτυρος Ocoyelrovos Μαραθώνιος, v. 7., Luc. Necyom. 16, who alone 
gives the full name, which may be fictitious; passage quoted in full 
under No. 421. Mentioned with Aristodemus as a famous actor by Luc. 
Jup. trag. 41 (quoted under No. 62). He was the friend and teacher of 
Demosthenes according to Plut. Vit. Dem. 7: πάλιν δέποτέ φασιν ἐκπεσόντος 
αὐτοῦ... . καὶ βαρέως φέροντος, ἐπακολουθῆσαι Σάτυρον τὸν Ὑποκρίτην ἽΝ 
δειον ὅ οντα καὶ συνελθεῖν. θυ ρυμενον δὲ τοῦ Δημοσθένους πρὸς αὐτόν, ὅτι allie! sel} \e 
SEE δ᾽ αὐτός, [ἀλη λέγεις, ὦ Δημόσθενες," φάναι τὸν Σάτυρον, “ἀλλ᾽ δὰ 
τὸ αἴτιον ἰάσομαι ταχέως, ἄν μοι τῶν Εὐριπίδου τινα ῥήσεων ἢ Σοφοκλέους ἐθελήσης 
εἰπεῖν ἀπὸ στόματος. εἰπόντος δὲ τοῦ Δημοσθένους, μεταλαβόντα τὸν Σάτυρον 
οὕτω πλάσαι καὶ διεξελθεῖν ἐν ἤθει πρέποντι καὶ διαθέσει τὴν αὐτὴν ῥῆσιν, ὥσθ᾽ 
ὅλως ἑτέραν τῷ Δημοσθένει φανῆναι. This passage may refer equally well, 


132 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


however, to the comie actor No, 430, in which case Lucian is the only 
authority for a tragic actor of the name. It is noteworthy that no Saty- 
rus appears in the Lenaean list of tragic victors, p. 62, col. ii, above. 
Kirchner No. 12604. 

431. Σάτυρος Δημοχάρον ᾿Αθηναῖος, tragic didascalus at the Soteria at 
Delphi in 271 8. ο., SGDI. 2564, 1.49. Kirchner No. 12582. 

432. Σάτυρος Σιμάκου ᾿Αργεῖος, tragic didascalus at the Soteria at Delphi 
in 272 5. c., SGDI. 2563, 1. 36. See under 435. 

433, Σάτυρος, tragic synagonist, member of the guild of technitae of 
Ptolemais, reign of Ptolemy Philadelphus, BCH. IX (1885), p. 132, where 
[Ζώπυρος is reported, corrected by Wilhelm, p. 252. Michel 1017. Ditt. 
Inse. Or, Gr. 51. 

434. Σαώνδας, ὑ. r., once victor at the Dionysia ca. 440 B. c., IG. IT 977 
ple’), W. p. 137. 

435. Σίμακος Μενεκράτου ᾿Αργεῖος, κωμῳδός at the Soteria at Delphi in 271 
and 270 Β. o., SGDI. 2564, 1. 68, 2565, 1.70. His son may have been No. 
331, κωμῳδός at Delos in 259 Β. o. 

436. Σιμέρμων, ὑ. κι, see under Hermon, No. 183. 

437. Σιμίας ᾿Αθηναῖος, κωμῳδός at the Dionysia at Delos in 280 and 279 
B. o., BCH. VII (1883), pp. 106, 108. Kirchner No. 12666. 

438, Σῖμος, ὑ. τι, fourth century s.c., Ath. 164d, quoting the Λίψος 
Alexis: ‘Hp. Σῖμος δ᾽ ἐστὶ ris; | Aw. μάλ εὐφυὴς ἄνθρωπος. ἐπὶ τραγῳ- 
δίαν | ὥρμηκε νῦν, καὶ τῶν μὲν ὑποκριτῶν πολὺ | κράτιστός ἐστιν ὀψοποιός, ὡς 
δοκεῖ τοῖς χρωμένοις, τῶν δ᾽ ὀψοποιῶν ὑποκριτής. The conjecture of 
Meineke I, p. 425, that he is perhaps the same as Simylus (No, 440), is 
unwarranted. 

439. Σιμύκας, an actor of the latter part of the fourth century Β. o., 
Theophrastus apud Ath. 348a:; ἐν τῷ περὶ γελοίου λεχθῆναι μέν φησι τὴν 
παροιμίαν ὑπὸ τοῦ Στρατονίκου, ἀλλ᾽ εἰς Σιμύκαν τὸν ὑποκριτήν, διελόντος τὴν 
παροιμίαν ᾿ μέγας οὐδεὶς σαπρὸς ἰχθύς. The reference of Kaibel ad loc. to 
Dem. 18, 262 (Simylus) is pointless. 

440, Σιμύλος, ὑ. τ΄, middle of the fourth century Β. c., known only 
through Dem, 18. 262, who says of Aeschines: μισθώσας σαυτὸν τοῖς * Bapy- 
στόνοις ᾿ ἐπικαλουμένοις ἐκείνοις ὑποκριταῖς Σιμύλῳ καὶ Σωκράτει, ἐτριταγωνίστεις, 
ete. (quoted in full under No. 15). Dependent on this passage are 
Demochares apud Vit. Aesch., p. 269: καὶ μετὰ Σωκράτους καὶ Σιμύλου τῶν 
κακῶν ὑποκριτῶν ἀλᾶσθαι κατ᾽ ἀγρούς, and Philost. Vit. sophist. 1.18.11: καὶ 
γὰρ δὴ καὶ τοῖς βαρυστόνοις ὑποκριταῖς τὸν ἐν μειρακίῳ χρόνον ὑπετραγῴδησεν. 
He was evidently an inferior actor who took companies into the demes 
for tragic exhibitions. This was before Aeschines entered upon his poli- 
tical career. 

441. Σόλων Σόλωνος, Athenian, comic synagonist representing the Athe- 
nian guild of technitae at Delphi ca. 97 πὶ c., BCH. XXX (1906), No, 49, 
p. 278, 1. 34. Not in Kirchner. 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 133 


441 a. Σοφοκλῆς Σοφίλλου Kodovets, the tragic poet, is reported to have 
taken part in the ball-playing scene, Eustath. ad. Od. p. 1553, and to 
have played the harp in the Thamyras, Ath. 20 f: τὸν Θάμυριν διδάσκων 
αὐτὸς ἐκιθάρισεν, ἄκρως δὲ ἐσφαίρισεν ὅτι THY Ναυσικάαν καθῆκε. These may 
both have been mute réles. From Vit. Soph. 127. 23 West. it may be 
inferred that he never attempted speaking parts: πρῶτον μὲν καταλύσας 
τὴν ὑπόκρισιν τοῦ ποιητοῦ διὰ τὴν μικροφωνίαν: πάλαι yap Kal ὃ ποιητὴς 
ὑπεκρίνετο. .. .. φασὶ δ᾽ ὅτι καὶ κιθάραν ἀναλαβὼν ἐν μόνῳ τῷ Θαμύριδί ποτε 
ἐκιθάρισεν. 

442. Σοφοκλῆς ᾿Ιοφῶντος Κολωνῆθεν, tragic didascalus, grandson of the 
great poet, brought out the Oidipous Koloneus in 401 B.c., Hyp. Oed. Col. 
He was also active as a poet after 396 8. c., Diod. 14. 53. Kirchner No. 
12833. 

443. Στεμφύλιος, ὑ. 7., victor at the Lenaea ca. 313 8. ο., IG. IT 977 v(a), 
W. p. 145. See under No. 62. 

444, Στρατοκλῆς, comoedus apud Juy. 3. 99 (quoted under No. 34). 
Characterized by Quint. 11. 3. 178 (quoted under No. 130) as especially 
good in the réles of gods, young men, good fathers and slaves, matrons, 
old women, ete. 

445, Στράτων ᾿Ισιδότου ᾿Αθηναῖος, aS v. κωμῳδίας Victor at the Amphiaraia 
at Oropus soon after 86 B.c., IG. VIT 416, and as 4. καινῆς κωμῳδίας, at the 
Musaea at Thespiae 100-75 s.c. ibid. 1761, BCH. XIX (1895), No. 14, p. 340. 
Kirchner No. 12970. A descendant Στράτων ᾿Ισιδότου Κυδαθηναιεύς inse. tit. 
sep. first century a. p., IG. III 1778; cf. Capps AJA. IV (1900), p. 78, 
whose dating is corrected by Kirchner Prosop. IT, p. 482. 

440. Στράτων, κωμῳδός, a contemporary of Plutarch, Plut. Mor. 673 cd: 
περὶ ὧν ἐγένοντο λόγοι Kal σοῦ παρόντος ἐν ᾿Αθήναις ἡμῖν, ὅτε Στράτων 6 κωμῳ- 
δὸς εὐημέρησεν (ἦν γὰρ αὐτοῦ πολὺς λόγος), ἑστιωμένων ἡμῶν παρὰ Βοήθῳ τῷ 
᾿Επικουρείῳ: συνεδείπνουν δ᾽ οὐκ ὀλίγοι τῶν ἀπὸ τῆς αἱρέσεως. εἶθ᾽ οἱονεὶ φιλολό- 
yous περιέστησεν ἡ τῆς κωμῳδίας μνήμη τὸν λόγον εἰς ζήτησιν αἰτίας, dv ἣν ὀργιζο- 
μένων ἢ λυπουμένων ἢ δεδιότων φωνὰς ἀκούοντες ἀχθόμεθα καὶ δυσκολαίνομεν, οἱ 
δ᾽ ὑποκρινόμενοι ταῦτα τὰ πάθη καὶ μιμούμενοι τὰς φωνὰς αὐτῶν καὶ τὰς διαθέσεις 
εὐφραίνουσιν ἡμᾶς. 

446 a. Κύιντος Μάρκος Στράτων, Athenian of the deme Cholleidai, κωμῳ- 
δὸς περιοδονείκης, Second century A. D., honored by his admirers, probably 
members of the same guild, with a tombstone, according to an epigram 
found in Athens, Ath. Mitt. XVII (1892), p. 172: τῆδε Mevavdpetwy ἐπέων 
δεδαηκότα πάσας | τύξιας. εὐιέροις ἄγλαον ἐν θυμέλαις, | ἐκτέρισαν θεράποντες 
ἀερσίφρονος Διονύσου, αὐτῷ κισσοφόρῳ τοῦτο χαριζόμενοι. τοιγὰρ ὅσοι Βρομίῳ 
Παφίῃ τε νέοι μεμέλησθε, | δευόμενον γεράων μὴ παρανεῖσθε τάφον, | ἀλλὰ παρα- 
στείχοντες ἢ οὔνομα κλεινὸν ὁμαρτῇ | βωσέετ᾽, ἢ ῥαδινὰς συμπλαταγεῖτε χέρας. 
At the 546: Κύιντος Μάρκος Στράτων καὶ Κύιντος Μάρκος Τιτιανὸς Χολλεῖδαι 
κωμῳδοὶ περιοδονεῖκαι, and below, by another hand: προσεννέπω Στράτωνα 
καὶ τιμῶ κρότῳ. Straton was especially admired as an interpreter of the 


134 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


erotic plays of Menander; Pernice loc. cit. compares the epigram on Me- 
nander, Kaibel Epigr. Gr. 1085. Possibly identical with the preceding. 

447. Σω--, ὑ. κ΄ (7), IG. IL 977 ma’), W. p. 164. 

448. Σωκράτης, ὑ. 7., middle fourth century p.c. See under No. 440. 

449, Σωκράτης, ὑ. κ΄. once victor at the Lenaea ca. 275 B. c., IG. II 977 
2(v), W. p. 153. 

450, Σώνικος, ὑ. x., acted the Nemesis of an unknown poet at the Dio- 
nysia in 169 8. c., IG. II 975c, W. p. 78. 

451. Σωσίθεος, ὑ. r., twice victor at the Lenaea ca. 232 B. c., IG. II 977 
q(a’) W. p. 141, assigned to Lenaean tragic actors by Reisch Z6G. 1907, 
Ρ. 306. Identified by Wilhelm with the τραγῳδός in a decree of the tech- 
nitae of ca. end of the third century, published in Urk., p. 225; he also 
suggests, p. 142, that the anecdote in Diog. L. 7. 173, in which he thinks 
Sositheus the tragic poet is spoken of as if he were an actor, is due toa 
confusion of the poet, who is of an earlier date, with the actor: Σωσιθέου 
τοῦ ποιητοῦ ἐν θεάτρῳ εἰπόντος πρὸς αὐτὸν (1. 6.. Cleanthes) παρόντα, the spec- 
tators applauded Cleanthes, τὸν δὲ Σωσίθεον ἐξέβαλον. Wilhelm considers 
that the language necessarily implies that Sositheus appeared as actor 
and himself inserted the objectionable line. However, εἰπόντος and 
ἐξέβαλον in Diogenes may be used perfectly well of the poet’s lines as 
spoken by an actor and of the disapproval by the audience of the poet. 
The language does not imply that the poet was acting his own play. 
For εἰπεῖν and ἐκβάλλειν of the poet see, e.g., schol. Eur. Med. 1346—an 
exact parallel of the passage in Diogenes: δοκεῖ τὸν στίχον τοῦτον εἰπὼν 
Εὐριπίδης ἐκβέβλησθαι. Cf. also schol. Eur. Orest. 554 and Arist. Poet. 
1456a 18. The epigram to Sositheus the poet Anth. Pal. 7. 707 is falsely 
referred to an actor in the heading: εἰς Σωσιθέου τινὸς τάφον ὑποκρινομένου 
τὰ ἐν ταῖς τραγῳδίαις φερόμενα. 

452, Σωσικλῆς, ὑ. κι. victor at the Lenaea ca. 270 B.c., Τὰ. 977 y(u), 
W. p. 153. 

453. Σωσικράτης Mvaclwvos Σικνώνιος, κωμῳδός at the Soteria at Delphi 
269 B.c., SGDI. 2566, 1, 67. 

454. Σωσίπατρος, τραγῳδός, by the technitae of Asia and the Hellespont 
veunbeis σὺν τῇ ὑπηρεσίᾳ ἐπιτελεῖσαι τοὺς τῶν Διονυσίων τῶν ἐν Ἰάσῳ ἀγῶνας, Ca. 
151 .c., inse. Iasos, Lebas-Wad. IIT 281, Michel 1014. 

455. Σωσύλος, κωμῳδός, ca. 180-170 B.c., inse. Tasos, Lebas-Wad. II 
252 ἀγωνοθέτης ᾿Απολλόδωρος Χάρμου (ἐπέδωκε), Σωσύλον τὸν κωμῳδὸν ἡμέρας 
δύο, καὶ ἡ πάροδος εὗρεν δραχμήν, ἡ δὲ Oda ἐγένετο δωρεάν. ᾿Ιδύμας ᾿Αντιπάτρου, 
τῆς ἐπιδόσεως ἧς ἐπένευσεν χορηγῶν ἐν τῷ ἐπάνω ἐνιαυτῷ, (ἐπέδωκε) Σωσύλον, 
οἷς, Βλώσων Πυθίωνος, τῆς ἐπιδόσεως, etc., (ἐπέδωκε) Σωσύλον, ete. 

456. Σωτέλης Θεοκρίτου, comic synagonist for the κωμῳδὸς Apelles (No. 
39) at the Soteria at Delphi 140-100 Β. ο.. SGDI. 2569, 1. 11. 

407. Σωτίων ᾿Ακαρνάν, τραγῳδός (δίς) at the Dionysia at Delos in 259 Β. ©., 
BCH. VII (1883), p. 113: Σωτίων "Axapydy, "Hus, corrected to Σωτίων 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 135 


᾿Ακαρνὰν dis by Capps TAPA. XX XT (1900), p. 119, confirmed by Robinson 
AJP. XXIV (1904), p. 190. Identified by Reisch De mus. cert., p. 97, 
with the father of Aristocrates 5. Sotion Acharnanian, tpaywdds at Delphi 
in 270 B.c., SGDI. 2565, 1. 54, No. 64. 

458. Σωτύλος Φιλοξένου Αἰτωλός, τραγῳδός at the Soteria at Delphi in 
272 and 271 8. c., SGDI. 2563, 1. 43, 2564, 1. 46 (in the former the father’s 
name is omitted). 

459. Σώφιλος, v. x., acted the Ephesioi of Criton at the Dionysia in 183 
B.0., IG. 975 II}, col. ii, W. p. 72. 


460. T-, ὑ. r., victor at the Lenaea ca. 288 Β. ο., IG. 11 977 d(s), W. p. 157, 
assigned by Reisch Z6G. 1907, p. 306, to the Lenaean of tragic actors. 

461. Τεισίλας, ὑ. 7., victor at the Lenaea ca. 302 B.c., IG. II 977 v(x), 
W. p. 145. 

462. Τέλεσις ἸΤάριος, κωμῳδός at the Dionysia at Delos in 280 8. c., BCH. 
VII (1883), p. 106. 

463. Τελέστης Θεοκλείδου ᾿Αθηναῖος, κωμῳδός at the Soteria at Delphi in 
270 B.c., SGDI. 2565, 1.58. Identified by Reisch De mus. cert., p. 96, 
with Τελέστης ᾿Αθηναῖος, κωμῳδός at the Dionysia at Delos in 284 B.c., 
BCH. VII (1883), p. 104. He is mentioned first in his company at Delphi. 
Kirchner Nos. 13544, 13545. 

464. Τελέσων Μεγαρεύς, κωμῳδός at the Dionysia at Delos in 279 B.c., 
BCH. VII (1883), p, 108. 

464 a. Tipdgevos ᾿Αρχενίκου, Athenian, κωμῳδός at Delphi 138-128 8. c. 
if the name is rightly restored; cf. No. 518. 

465. Τίμων Εὐκλείδου, Athenian, tragic synagonist representing the 
Athenian guild of technitae at Delphi in 106 8. ο., singing also in the 
paean, BCH. XXX (1906), No. 50, p. 288, 1]. 16, 33. Not in Kirchner. 

466. Κύιντος Μάρκος Τιτιανός, Athenian of the deme Cholleidai, κωμῳδὸς 
περιοδονείκης, Second century a. p., honored by his admirers with a tomb- 
stone, according to an epigram found in Athens, Ath. Mitt. XVIT (1892), 
p. 272, quoted under No. 446 a. 

467. Τληπόλεμος, v. τ. (7), fifth century s.c., Arist. Nub. 1266: τί 8aé ce 
Τληπόλεμός ποτ᾽ εἴργασται κακόν; and schol. ad loc.: ἄλλοι δὲ τραγικὸν ὑπο- 
κριτὴν εἶναι τὸν Τληπόλεμον συνεχῶς ὑποκρινόμενον Σοφοκλεῖ. Probapnly an 
error, Vélker, p. 162. 

468. Tipavvos Xpucépwros, κωμῳδός, ἔζησεν ἔτη in, THs εἰς ἐν (=Simul) φιλίης 
Χρυσέρως καὶ παιδὸς ἀρετῆς τήνδ᾽ ἐπὶ τῷ μνήμης εἵνεκ᾽ ἔθηκε πάρον. Insc. 


Rome, IG. XIV 2050, IGRR. I 358. 


469, Φ-, 4. κι, acted a play by Iolaus at the Dionysia ca. 186-170 8. c., 
IG. II 975 g, W. p. 80. 

470. Φαῖδρος ᾿Αθηναῖος, κωμῳδός at the Dionysia at Delos in 282 8, o., 
BCH. VII (1883), p. 105. Kirchner No. 13954. 


136 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


471. Φανύλος, κωμῳδός at the Dionysia at Delos in 263 8. c., BCH. VII 
(1883), p. 112. 

472. dep-, 6. κι» Victor at the Lenaea ca. 218 8. o., 1G. [1 977 a’, W. p. 153. 

473. Φερεκράτης ᾿Αθηναῖος, the comic poet, seems to have been a comic 
actor before he became a poet, Anon, De com., p. 8,1. 1 Kaibel: γενόμενος 
δὲ ὑποκριτὴς (τὸ πρῶτον, ὕστερον ποιητὴς ἐγένετο» - ἐζήλωκε Κράτητα, etc., as 
emended by Kaibel. His career as a poet began ca. 435 B. c., as indicated 
by his position in the Victors’-list, IG. II 977 d(7) and i(d), W. pp. 107, 
123, ef. AJP. XXVITI (1907), pp. 188, 195. 

474. Φιλ-, ὑ. τ΄, victor at the Lenaea ca. 324 8. ο., IG. IT 977 u(z), W. 
p. 145. 

475. Φιλ-, ὑ. κι, Victor at the Lenaea ca. 220 B.c., IG. ΠῚ 977 a’, W. 
p. 153. Is this Philostratus, No. 490, who brought out the Apokleio- 
mené of Poseidippus at the Dionysia in 181 8. c., IG. IT 975 ὃ. W. p. 722. 

476. Φιλάπορος, the fictitious name of a comic actor in Ale. Ep. 3. 35 
Schepers (3. 11), Λεξιφάνης 6 τῆς κωμῳδίας ποιητὴς . . . . τοῦ φωνήματος ὡς 
ἔχοιμι διὰ βραχέων ἀποπειραθεὶς τῷ χορῷ τῶν κωμικῶν συλλαμβάνει... .. ἐκέ- 
λευεν οὖν ἐκμαθόντα Διονυσίοις τοῖς ἐπιοῦσι τὸ τοῦ οἰκέτου σχῆμα ἀναλαβόντα τὸ 
μέρος ἐκεῖνο τοῦ δράματος ὑποκρίνασθαι. ἐγὼ δὲ... . τὸ δρᾶμα ἐξέμαθον, καὶ 
μελέτην ἀσκήσει ῥώσας ἑτοιμός εἰμι τῷ χορῷ συντελεῖν. 

41θα. Φιλεῖνος ᾿Επαφρίωνος Θεσπιεύς, as i. καινῆς τραγῳδίας victor at the 
Musaea at Thespiae 161-169 a. ν., BCH. XTX (1895), No. 17, p. 545. 

477. Φιλήμων, ὑ. κι, twice victor at the Lenaea ca. 370 B.c., IG. ΠῚ 977 
i(l), W. pp. 161, 252. Arist. Rhet. 1413 6 25, illustrating the effect of 
μεταβολή in delivery: οἷον καὶ Φιλήμων ὁ ὑποκριτὴς ἐποίει ἔν τε τῇ ᾿Αναξανδρί- 
δου Γεροντομανίᾳ, ὅτε λέγει ᾿Ῥαδαμάνθυς καὶ Παλαμήδης." καὶ ἐν τῷ προλόγῳ τῶν 
Εὐσεβῶν τὸ "ἐγώ. Cf. Ath. 6l4c. Anaxandrides was active ca. 380-345. 
_dentical with the person mentioned in Aesch. 1. 115 (345 B.0.): εἰληφὼς 
ἠλέγχθη (se. Timarchus) παρὰ Λευκωνιδου, τοῦ Φιλωτάδου κηδεστοῦ, διὰ 
Φιλήμονος τοῦ ὑποκριτοῦ εἴκοσι μνᾶς. 

478. Φιλήσιος Καλλίου Βοιώτιος, tragic didascalus at the Soteria at 
Delphi in 269 5. c., SGDI. 2566, 1. 59. 

479, Φίλιππος, ὑ. 7., victor at the Lenaea ca. 398 8. c., IG. II 977 5, W. 
p. 145. 

480. Φίλιππος, ὑ. κ΄, acted the Pankratiastes of an unknown poet 
(Theophilus?) at the Dionysia in 311 3. ¢., IG. II 974 ¢, W. p. 45: [ὑπε: 

. ur}ros, restored by Wilhelm; see No. 521. 

481, Φιλίσκος Aapelkov, κωμῳδός at the Soteria at Delphi in 272 B.c., 
SGDI. 2563, 1. 64. 

482. Φιλίων Φιλομήλου, Athenian, tragic hypodidascalus, ambassador 
to the Amphyctionie Council on behalf of the Athenian Dionysiac artists 
in 180/29 5. οςς IG. ΠῚ 551, ll. 47, 72, Michel 1009. Another copy BCH. 
XXIV (1900), p. 82. For the date see Ferguson Priests of Asklepios. 
Not in Kirchner. 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 137 


483. Φιλοκλείδης Χαλκιδεύς, τραγῳδός at the Dionysia at Delos in 284 
B. 0., BCH. VII (1883), p. 104. 

484. Φιλοκλῆς, ὕ. κι. victor at the Lenaea ca. 288 B.o., IG. II 977 2(v), 
W. p. 153; victor at the Dionysia ca. 283, ibid. b’c’(f’w), ὟΝ. p. 156. 
Might be restored in SGDI. 2563, 1. 59 (272 8. c.), [Φιλοκλῆς Διοκλέους 
᾿Αθηναῖος, κωμῳδός, cf. TAPA. XXXI (1900), p. 126, but the date (ca. 275 
B.C.) Of Πολυκλῆς in IG. II 977 y(u), W. p. 153, makes the identification 
with the latter more probable; cf. No. 406. 

485. Φιλοκράτης Θεοφάντου Θηβαῖος, as ὗ. καινῆς τραγῳδίας victor at the 
Amphiaraia at Oropus soon after 86 8. ο., IG. VII 417, and ibid. 420 
in both παλαιά and kaw. As 6. παλαιᾶς τραγῳδίας Victor at the Musaea at 
Thespiae 100-75 8. c., IG. VII 1760, BCH. XIX (1895), No. 13, p, 340, 
Michel 892. Cf. Reisch De mus. cert., p. 122. 

486. Φιλοκύδης Φιλάγρου ᾿Αθηναῖος, κωμῳδός at the Soteria at Delphi in 
271 and 270 B.c., SGDI. 2564, 1. 67, 2565, 1.69. Preuner Delph. Weihge- 
schenk, p. 75, points out his relationship with Dionysius s. Philocydes 
Athenian (No. 149), comic didascalus ibid. 2564, 1. 70, 2565, 1. 71, and with 
Androcydes s. Philagrus Cydathenian IG. IV 2, p. 211, 871 8, col. ii, 1. 14 
and IG. II 108, 1. 12 (latter half fourth century). Possibly to be identified, 
with Wilhelm, p. 164, with [ .. . κ]ύδης, IG. ΤΠ 977 mq’), No. 526. 
Kirchner No. 14645. 

487. Φιλόνικος “Eppovos, Athenian, tragic synagonist representing the 
Athenian guild of technitae at Delphi ca. 97 8. 56. BCH. XXX (1906), No. 
49, p. 278, 1. 81. Not in Kirchner. 

488. Φιλόξενος Φιλοξένου, Athenian, comic synagonist representing the 
Athenian guild of technitae at Delphi ca. 97 B.c., BCH. XXX (1906), 
No. 49, p. 278, 1.34. Cf. Philoxenus 5. Philoxenus Σουνιεύς, priest of 
Sarapis after 167 8. c., BCH. VII (1883), p. 280, Kirchner No. 14710. 

489. Φιλοστέφανος, ὗ. κι, once victor at the Lenaea ca. 242 8. c., IG. 11 
977 za’(v), W. p. 153. Wilhelm’s identification with the comic poet is 
a possibility; above, p. 41, n. 

490. Φιλόστρατος, as κωμῳδός brought out the Apokleiomené of Posei- 
dippus as παλαιά at the Dionysia in 181 B. 0., IG. II 9758, col. ii, W. p. 72. 
See No. 475. 

491. Φίλων Στράτωνος ᾿Αμβρακιώτης, κωμῳδός at the Soteria at Delphi in 
270 85. c., SGDI. 2565, 1. 60. Possibly, as Wilhelm, p. 165, suggests, to be 
restored in IG. II 977 m’, which Reisch Z6G. 1907, p. 306, assigns to the 
Lenaean list of comic actors. 

492. Φίλων, τραγῳδός at the Dionysia at Delos in 171 8. c., BCH. IX 
(1885), p. 147. 

493. Φίλων, 5. κι, acted the [’Ar]6éSes of an unknown poet at the Dio- 
nysia ca. 140 8. c., IG. 11 975h, W. p. 81. For the date of this fragment 
see Reisch Z6G. 1907, p. 299. Capps’s identification with No. 491 is 
impossible on account of the date. 


138 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


494. Φιλωνίδης Κυδαθηναιεύς, the comic poet, was didascalus for Aristo- 
phanes in the production of the Clouds 423, Wasps 422, Amphiaraus 414, 
Frogs 405. Was also active as a poet during this period. Falsely called 
an actor by schol. Arist. Nub. 531 (quoted under No. 279). Kirchner No. 
14904. 

495. Φιλωνίδης ᾿Αριστομάχον Ζακύνθιος, κωμῳδός at the Soteria at Delphi 
in 272 B. c., SGDI. 2563, 1. 48, and priest ibid. 2563, 2564, 2565, 2566. 
Once victor at the Lenaea ca. 276 8. c., IG. II 977 2(v), W. p. 153, and 
victor at the Dionysia ca. 284, ibid. δ΄ ε΄ (f’ w), W. p. 156. Appeared at 
the Dionysia at Delos as κωμῳδός in 263 B. c., BCH. ὙΠ (1883), p. 112. 
The identification is due to Capps AJP. XX (1899), p. 403, and AJA. IV 
(1900), p. 81. He is mentioned first in his company at Delphi. 

496. Φιλωτάδης, see No. 508. 

497. Φιλώτας Φιλώτου, Athenian, comic synagonist representing the 
Athenian technitae at Delphi in 106 8.c., BCH. XXX (1906), No. 50, 
p. 288, 1. 31. =. Φιλώτου, singer at the paean ca. 97 8. ο., ibid., No. 49, 
p. 277, 1. 26. 

498. Φορμίων, participated in Alexander’s celebration at Susa in 324 
Β. o., Chares apud Ath. 539 ἃ (quoted under No. 13). Restored by 
Kohler in the list of Lenaean victors ca. 360 8. c., IG. IT 977 a(p), W. 
p. 150, . . p —; doubtful. 

499, Φρασίλαος Τεισικράτους ᾿Αθηναῖος, τραγῳδός at the Soteria at Delphi 
in 269 5. ο., SGDI. 2566, 1.52. Kirchner No. 14985. 

HOO. Φρύνιχος Χοροκλέους, v. τ΄» fifth century Β. c., schol. Arist. Vesp. 
1302: εὐλογώτατον ἂν εἴη τὸν τραγικὸν ὑποκριτήν. Schol. Arist. Av. 740 dis- 
tinguishes four persons of the name: ὁ ἕτερος, Χοροκλέους παῖς. ὑποκριτής. 

501. Φύτιος, ὑ. τ., twice victor at the Lenaea ca. 392 Β. c., IG. II 977 s, 
W. p. 145. 


HO2, Xatpéerparos, ὑ. r., once victor at the Dionysia ca. 435 Β. c., 1G. IT 
977 ple’), W. p. 181. First in the list of Lenaean victors ca. 482 B. c., 
ibid. rs, W. p. 145. For the date see above, p. 46. 

503. Χαιρέστρατος Φιλάγρον, Athenian, tragic synagonist representing 
the Athenian guild of technitae at Delphi ca. 97 8. c., BCH. XXX (1906), 
No. 49, p 278, 1.17. Not in Kirchner. 

504. Xaplas, ὑ. r., victor at the Lenaea ca. 308 5. ο., IG. ΠῚ 977 v(x), 
W. p. 145. 

HOS. Xaplas Xaplov ᾿Αθηναῖος, as vb. (καινῆς) τραγῳδίας victor at the 
Amphiareia at Oropus soon after 86 B. ¢., IG. VIL 416. His father Charias 
5, Charias Athenian Χολλείδης was gymnasiarch for the Hermeia at Delos 
ca. 180 5. ο., BCH, XV (1901), pp. 255, 256, cf. Pauly-Wissowa ΠῚ 2182. 
Kirchner No, 15828, ef. 15366, 

506. Χαρίδημος, ὑ. r., victor at the Lenaea ca. 400 8. o., IG. IT 977 5, 
W. p. 145. 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 139 


507. Xépnyos, κωμῳδός at the Dionysia at Delos in 268 8. c., BCH. VIT 
(1883), p. 109. Brinck Diss. Hal. VII (1886), p. 197, restored as a proper 
name; see also Robinson AJP. XXIV (1904), p. 189. 


BOSE es sis e's dSys, 0. τ., Once victor at the Lenaea ca. 345 Β. ο., IG. IT 
977 t(o), W. p. 145, perhaps [Φιλωτ]άδης, Wilhelm. 

508a. ——as-, IG. II 977 σ΄, W. p. 160, probably to be restored [᾿Αρισ- 
ayop|as-, according to Capps AJP. XX (1899), p. 404, n. 8; see No. 56. 

508 b. avSpov, κωμῳδός at Delphi ca. 138-128 B.c., representing the 
Athenian guild of technitae, BCH. XXX (1906), No. 48, p. 273, 1. 36. 
Restore: [Διοσκουρίδην Μεν]άνδρου, No. 158. 

IO a eee tpaitevetts aros, ὑ. T., Victorious at the Dionysia in 399 8. o., IG. 
II 971 d, Wilhelm Wiener Jahresheft X (1907), p. 39, cf. Urk., p. 22. 
Wilhelm restores [ὑποκριτὴς Nixoorp jaros, see No. 368. 

SLR ΜῊ at atete tone τον se να Sov Συρακόσιος, τραγῳδός, victor at the 
Soteria at Delphi end of third century Β. c., BCH. XXVI (1902), p. 266, 
and Wilhelm Urk., pp. 141, 251, suggests Ariston, No. 75, but see p. 257. 
The dates are 100 years apart. 

ΔῈ ΘΑ Sia a evos, ὗ. κι, Victor at the Dionysia ca. 180-170 B. c., IG, 11 
975 e, col. i, W. p. 75, restored [ΠΠολύξ]ενος by Capps TAPA. XX XI (1900), 
p. 123, see No. 410. Wilhelm, p. 256, suggests [Φιλόξ]ενος, see No. 448; 
but the date is against this. 

ΒΕ Hal ae Co ae ate ys, v. τι, thrice victor at the Dionysia ca. 430 B.c., 
IG. II 977 r, W. p. 145. Wilhelm’s [Aezriv]ys does not fill the space, see 
No. 314. 





Ol Pe aria ns Κεῖος, κωμῳδός at the Dionysia at Delos in 259 8. c., 
BCH. VII (1883), p. 113. 
SES ered τ τ: ys, acted the -opos of an unknown poet at the Dionysia 


near end of third century 8. c., IG. II 975 f, 1. 18, W. p. 68; probably the 
same actor in 1. 15, who acted in the -os of an unknown poet. 

δ ον προς ys, once victor, IG. II 977 m‘(a’), W. p. 164, assigned by 
Reisch Z6G. 1907, p. 306, to the Lenaean list of comic actors, third cen- 
tury B.c. Identification and date doubtful. 

SUB τες evens ter ot ys, v. κι, acted the Synt[r- of a poet -w]y at the Dio- 
nysia ca. 180-170 8. ο., IG. 11 975 e, col.i, W. p. 75. Could be [“HpaxA«/3 ns = 
Nos. 212 and 516. 


51ba. .... ms... . 5 aS ὕ. καινῆς τραγῳδίας (Or kwpw.) victor at the 
Musaea at Thespiae, ἀπο ἃ date, BCH. XIX (1895), No. 21, p. 372. 
BURGE ciel iien ste (Sys, ὕ. κι», acted the Synagon of an unknown poet at the 


Dionysia ca. 180-170 8. c., IG. II 975 e, col. i. Wilhelm, p. 75, plausibly 
suggests [Ἣρακλε]ίδης and identifies with the Ἣρακλί είδης |, κωμῳδός in col. 
ii, 1. 6, 160 8. c. See No. 212. His further suggestion, p. 256, that this is 
the ἀρχιθεωρός Ἡρακλείδης Γλαυκίου, father of the κωμῳδός Γλαυκίας Ἡρακλεί- 
δου, of ca. 114 8. c., is hazardous; see No. 107. 


140 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


517. ——wuts, as κωμῳδός παλαιᾶς κωμῳδίας victor at the Museia at 
Thespiae, shortly before 161 a. p., IG. VIL 1773. See above, p.71. Jamot 
in BCH. XIX (1895), p. 341, reports 13 letters in the lacuna. 


518. —— -tov, Athenian, κωμῳδός at Delphi 138-128 Β, c, representing 
the Athenian guild of technitae, BCH. XXX (1906), No. 48, p. 273, 1. 25. 
Probably {[Τιμόξενον "Apyxev|ixov, No. 464; ef. ibid. 1. 12. 

519... . pos ᾿Αρισίστύλ]λον(}) Θ[ηβαῖος), as τραγῳδός victor at the 
Sarapieia at Tanagra 100-75 Β. c., IG. VII 542. 

520... ~ IN ᾿Αθηναῖον τὸν τραγω[ιδὸν παρεπ)͵)δημήσαντα εἰς τε [τὰ Avo- 
vou? ἀἸξιωθέντα ἡ γ]ων ίσθαι καλῶς κ)αὶ φιλοτιμῶς, etc., Perinthian decree, 
second half of second century Β. c. or earlier, restored by Wilhelm, p. 221. 
Doubtful whether the name is -σὶς or -τις ᾿Αθηναῖος, or ᾿Αθήναιος. 


521... . ufos, ὑ. κι. acted the Pankratiastes of (perhaps) Theophilus 
in 311 5. ο., IG. 11 974¢, W. p. 45. On p. 49 Wilhelm suggests [iAur}ros 
(No. 480) or [Κάλλιπ)πος; the former is doubtless right. 

522. — κιος Ταρσεύς, κωμῳδός first century B. o., inse. Nimes, IG. XIV 
2499, IGRR. I 21: ... Awu[ ... |. . ἔϊως κωμῳδοῦ πίαραδόξ]ου χοραύλου 
map ...|..» ος Καισαρέως Τραλλιανοῦ [... ἰ. - « |xcos Ταρσεὺς κομί pds] 
ws elses | ἐν Ῥώμῃ, ἱερᾶς συν δου]. . . 1. . . ] χοραύλης γ΄, Καπετί ώλια 
ἐν Ῥώμῃ], ete. 

523... . . κ[λ]ῆς Διοκλέους ᾿Αθηναῖος, κωμῳδός at the Soteria at Delphi 
in 272 Β. o., SGDI. 2563, 1. 59, wrongly restored there | Aco|xAjs the tragic 
actor No. 143. Might be Φιλο-, Πολυ-. or Meve-, comic actors of the same 
period and guild, see Nos. 484, 328; but the date of the first is too early, 
of the last too late. Hence the restoration {ΠολυΪκλῆς (No. 406) is prac- 
tically certain, Capps TAPA. XXXI (1900), p. 126. 


tbe winless Kos, ὑ. x., acted the Adelphai of the poet -yys at the Diony- 
sia ca. 200 8. ο., IG. IT 975 ὃ, col. i, W. p. 72. 
Ar Jos, ὑ. τι, Once victor at the Lenaea ca, 262 B. οςς IG. I 


977 q(d’) W. p. 141, assigned to the Lenaean list of tragic actors by Reisch 
ZG. 1907, p. 306. To be restored | KAedvex Jos, No. 302. 

τ Ser ea κ]ύδης, three times victor, IG. IT 977 ma‘), ΝΥ. p. 164, 
assigned by Reisch ZOG. 1907, p. 306, to the Lenaean list of comic actors, 
third century s.c. Identification and date uncertain. If correct, prob- 
ably to be restored [Φιλοκ|ύδης, No, 486. 


527... . κων, &. «., four times victor at the Lenaea ca. 355 B.c., 1G. IT 
977 αὐ), W. p. 150.) Γλύκων 
528. —— -Adov, Athenian, κωμῳδός at Delphi as representative of the 


Athenian guild of technitae in 138-128 np. c., BCH. XXX (1906), No 48 
p. 278, 1. 27. 

629... .. Awe... » κωμῳδός παράδοξος, inscr. Nimes first century A. D., 
IG. XIV 2499, IGRR. T 21 (quoted under No, 522). 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 141 


BBO: hes evs paxos, v. x., acted the Parakatatheké of — πρεσβύτερος τεθ- 
(νηκώς) ca. 210-187 B. ο.. IG. II 975 7. Capps’s restoration [ΛυσίΪμαχος is 
possible but not his identification with No. 323. 

BSleepaten. v, v. κι, twice victor, IG. II 977 m‘(a’), W. p. 164, assigned 
by Reisch Z6G. 1907, p. 306, to the Lenaean list of comic actors, third 
century Β. 6. Identification and date uncertain. Wilhelm, p. 165, sug- 
gests Φίλων or Νίκων, Nos. 491, 376 or 377. 


ΘΕ γος siieneure ν, v. κι, once victor, IG. II 977 ην(αΎ; οἵ. No. 532. 

ERE nite on ΣῊΝ: v, κωμῳδός at Tasos ca. 180-150 B.0., Lebas- 
Wad. III 257. To be restored [᾿Απολλόδωρο]ν, No. 42. 

ἘΣ Ὁ ola Obes v Ποσειδωνίου, Athenian, tragic synagonist repre- 


senting the Athenian guild of technitae at Delphi ca. 97 B. o., BCH. 
XXX (1906), p. 277, 1. 17. 

adda whole slveg 6 os, v. T., twice victor at the Lenaea ca. 422 8. o., IG. 11 
977 r, W. p. 145. Wilhelm’s restoration [ Μυννίσκ]ος, though not certain, 
is acceptable. 

55. Sarin ὁ δ᾽ ὁ 16. Ὁ. ὁ Jos, ὕ. τ., twice victor at the Lenaea ca. 342 B.c., IG., 
II. 977 v(x), W. p. 145. The remains are 1 O&8ll, and the position of the 
stroke before O favors P rather than M (Wilhelm); hence [’A@nvodwp Jos; 
see No. 13. 

Bobs caer. τ τς os, 0. τι, once victor at the Lenaea ca. 263 B. o., IG. 
II 977 g(a’), W. p. 151, assigned to the Lenaean list of tragic actors by 
Reisch Z6G. 1907, p. 306. To be restored |’ApxeotAalos; see No. 79. 

ΣΟΎ ὁ 5. iene 5 os Σιφνιος, κωμῳδός at the Dionysia at Delos in 259 8. o., 
BCH. VII (1883), p. 113. This is not to be regarded as part of the name 
of the preceding, Mevexpdrys No. 331, see Capps TAPA. XX XI (1900), p. 118. 

BOS bees mcs es os, κωμῳδός at the Dionysia at Delos in 259 8. c., 
BCH. VII (1883), p. 113. The following ‘IepoxAe- is not the father’s name; 
see No. 248 and TAPA. XXXI (1900), p. 119. Probably [Kydicddup jos, 
No. 288. 


SESE Oo arcane os, v. κι, acted the Anepsioi of an unknown poet at the 
Dionysia toward end of and century B. o., 1G. II 975 f, W. p. 68. 
BAN aah ὅς os, ὗ. κι» acted in the -υμένῳ of an unknown poet at the 


Dionysia in 169 8. ο., IG. TI 975 ὁ, W. p. 16. [Λυσίμαχ]ος, No. 323? 

541. —os Ἀπ τον ᾿Αθηναῖος, aS ὗ. κωμῳδιῶν victor at the Sarapieia at 
Tanagra ca. 100-75 8. o., IG. VII 540. To be identified with No. 128, 
Δημήτριος Δημητρίου, 97 B. οἱ Kirchner No. 3349. 

2 Deere ρ[--, IG. II 977 m‘(a’), W. p. 164, assigned by Reisch 
Z6G. 1907, p. 306, to the Lenaean list of comic actors, third century B. o. 
Identification and date uncertain. Capps AJP. XX (1899), p. 400, 
FEBOLES, =). τς pidals |. 

δά2α. —pos ΠΙ- , IG. II 977 σ΄, W. p. 160, probably to be restored 
[Ασκληπιόδω]ρος according to the suggestion of Capps AJP. XX (1899), 
p. 404, n. 3; see No. 93. 


1412 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


Ne ere pos, v. κι, once (II corrected to I) victor at the Lenaea 
ca. 250 5, c., IG. ΤΠ 977 a, W. p. 153. Probably with Wilhelm to be restored 
[Κηφισόδω ρος, No. 288. 

DAE se ao Brea’ athe s, 0. τι, once victor at the Dionysia ca. 430 B. ©., 
IG. Il 977 p(e’) col. i, 1. 10, directly under [Λεπ͵τώζης-}, but not reported 
by Wilhelm, p. 137. 


ΒΕ δὲ ς, 0. τ΄, twice victor at the Lenaea ca. 353 Β. c., IG. II 977 
t(o), 1. 15, W. p. 145. 
GAG nip kes whee s, v. τι, twice victor at the Lenaea ca. 339 B. o., IG. IT 


977 v(x), 1.4, W. p. 145. 

H46a. —s {ΠΠ]| IG. ΠῚ 977 σ΄. W. p. 160, probably to be restored [Κάλ- 
Aurro|s according to the suggestion of Capps AJP. XX (1899), p. 404, n. 3; 
see No. 276. 

547... ca... , τραγῳδός at the Dionysia at Delos in 280 5. c., BCH. 
VIT (1883), p. 107, restored Δράκων by Capps, see No. 162. 

ΤΈΡΨΙΝ s, v. κι, twice victor at the Lenaea ca. 246 B.c., IG. II 977 
za(v), W. p. 153. To be restored Ἢ ynoia|s II, known to have been active 
at this time; see No. 209. 

| ee σόδωρος, once victor, IG. II 977 m(a’), W. p. 164, assigned 
by Reisch ZOG. 1907, p. 306, to the Lenaean list of comic actors. Iden- 
tification and date uncertain. If correct, to be identified possibly with 
Κηφισόδωρος Καλλίου Βοιώτιος. No. 288, Wilhelm. 


δον, νον πο τις της, v. κι, acted in the -ηρᾳ of an unknown poet at the 
Dionysia toward end of third century Β. c. IG. I] 975 f, W. p 66. 
ΠΕ A. v]vos, ὑ. τι, twice victor at the Lenaea ca. 268 B. c., IG. IT 


977 q(d’), W. p. 141, assigned to the Lenaean list of tragic actors by Reisch 
ZG. 1907, p. 306. 


ΠΡ ib lbtie= pivre wy, ὑ. κι, acted the Progamoun of an unknown poet ca. 
210-187 5. o., IG. ΠῚ 975 7, W. p. 79. [Θαρσύν]ων, No. 225? 
ae σὰ wv Διονυσίου ᾿Αθηναῖος, as v. παλαιᾶς τραγῳδίας victor at the 


Musaea at Thespiae 167-146 5. c., BCH. XIX (1895), No, 11, p. 337. 
The heading is broken off, but is restored with certainty. Kirehner 
No. 4108. 

δυδι 4:5: wp, thrice victor, IG. II 977 m‘(a’), W. p. 164, assigned by 
Reisch ZOG, 1907, p. 306, to the Lenaean list of comic actors, third century 
s.c. Identification and date uncertain. Wilhelm [ΕήνἼωρ. 


Bb4a...... ] Ill, Lenaean list αἱ ο΄, ca. 290 B. 0. 
555. ——Atropévovs, Athenian (7), v. (tragic or comic), Arist. Vesp. 


1279. ὦ paxdpe’ Abropeves, ὥς σε μακαρίζομεν, παῖδας ἐφύτευσας ὅτι χειροτεχνι- 
κωτάτους" . . .. τὸν δ᾽ ὑποκριτὴν ἕτερον ἀργαλέον ὡς σοφόν. Schol. ad loe.: 
οὐκ ἔστι σαφὲς τίς τῶν ὑποκριτῶν Αὐτομένους ἐστὶν wos. His brothers were 
Arignotus and Ariphrades, whom Kirchner treats as Athenians, Nos. 
1612, 2201. 


PROSOPOGRAPHIA HISTRIONUM GRAECORUM 143 


BOG: τ ere Διονυσοδώρου, tragic synagonist representing the Athe- 
nian guild of technitae at Delphi in 106 Β. c., BCH. XX X (1906), p. 288, 1. 33. 
ΡΥ nies Awpobéov, Athenian, comic synagonist representing 


the Athenian guild of technitae at Delphi in 106 8. ο., BCH. XXX (1906), 
No. 50, p. 288, 1. 31. Restore [Θεόφιλος], No. 237, cf. Θεόφιλος Δωροθέου, 
one of the singers of the paean ibid. No. 49, p. 278, 1. 28, ca. 114 B.o. 
His son [Δ])ωρόθε[ ο]ἷς cl οφίλου Kp || xiédns] was ephebe in 105 8. c., IG. IT 
465, 1. 70, Kirchner No. 4615. 


558. —— ‘Hynolov ᾿Αθηναῖος, κωμῳδός at the Soteria at Delphi in 272 8.0., 
SGDI. 2563, 1. 58. Kirchner No. 6315. His son identical with No. 209? 

559. ——’Apyetos, τραγῳδός, fined for breaking his engagement at HEpi- 
daurus, IG. IV 1509, 1. 2, ca. 100 B. c.; cf. No. 155. 

DOU ΕΝ ᾿Αχαιὸς ἀπὸ Σικυῶνος, aS v. παλαιᾶς κωμῳδίας victor at the 
Musaea at Thespiae ca. 167-146 B.c., BCH. XTX (1895), No. 11, p. 337. 

Ueber τ , κωμῳδός, brought out the Phokeis of Philemon as 


παλαιά ca. 210 B.c., IG. II 975 ἢ. 

562. Anonymous κωμῳδός and tpaywdds, uncertain date, inser. Rome 
IG. XIV 1111, IGRR. I 160: as xwpwdds he was victor at Cyzicus, as 
tpaywoos at Cyzicus and Rome, and κιθαρῳδός at Pergamum and Nicome- 
deia, and διὰ πάντων at Nicomedeia and Pergamum. 

563. Anonymous κωμῳδός, uncertain date, inser. Rome IG. XIV 1114, 
IGRR. I 163: was victor at Naples and Puteoli. 


ADDENDA 


P. 87, No. 95. Epigram for the tomb of Asclepiodorus, Kaib. Ep. Gr. 
606: τέρμα βίου τελέσας, παῖς [γ]άειος (?), ἐνθάδε κεῖμαι, | ἀσκήσας [πάσης] εἶδος ὑποκρί- 
σεως - | ὀκτωκαίδεκ᾽ ἔτη ζήσας ᾿Ασκληπιόδωρος | γῆς ὧν πρόσθε γόνος μητέρα γαῖαν ἔχω. 
He may have been a mime, as Kaibel thought. Messalinus in Kaib. 1050, on 
the other hand, seems to have been a comic actor (cf. σκηνῆς πολυγηθέοΞ). 

P. 124, No. 381 α. Epigram of an unknown poet to a statue of Xenophon, 
Anth. Plan. IV. 289: αὐτὸν ᾿Τόβακχον ἐδόξαμεν, ἡνίκα ληνοῖς | ὁ πρέσβυς veaphs ἦρχε 
χοροιμανίης, | καὶ Κάδμου τὰ πάρηβα χορεύματα, καὶ τὸν ἀφ᾽ ὕλης | ἄγγελον εὐιακῶν ἰχνε- 
λάτην θιάσων, | καὶ τὴν εὐάζουσαν ἐν αἵματι παιδὸς ᾿ΑὙγαύην | λυσσάδα. φεῦ θείης ἁνδρὸς 
ὑποκρισίη! Xenophon seems to have played the parts of Dionysus, Messenger 
and Agave in Eur. Bacchai. 


144 HISTORY OF ACTORS AND ACTING IN ANCIENT GREECE 


RESTORATIONS AND TEXTUAL EMENDATIONS PROPOSED 


BCH. VII (1883), p. 114, 1. 19: [Κηφισόδω]ρος, Nos. 288, 538. 
BCH. XXX (1906), No. 48, 1. 25: Ῥαδὶ ἀμανθυν], No. 422; [Τιμόξενον ’Apxe- 
ν]ίκου, Nos. 464a, 518; 1. 26: [Διοσκουρίδην Mevjavépov, Nos. 158, 508 ὃ. 
BCH. XXX (1906), No. 50, 1. 81: Φιλώταν [Φιλώτου], No. 497; [Θεύφιλον]) 
Awpobéov, Nos. 237, 557. 
IG. Τ 977 ple’), col. ii, 1.5: Ni[xavdpos-], p. 61, col. ii, and No. 352. 
u(x), 1. 3: [A@nvddwp|os IT, p. 62, col. iii, and Nos. 13, 535. 
ds), 1. 3: KAeol dwpos-], p. 63, col. v, and No. 299. 
d(s), 1.8: [΄Α Ἰρίσί rapxos-], p. 63, col. v, and Nos. 55, 57. 
q(d@’), 1. 15: [Κλεόνικ])ος I, p. 63, col. v, and Nos. 302, 525. 
qd’), 1. 16: [Αρκεσίλα]ος I, p. 63, col. v, and Nos. 79, 536. 
za(v), 1. 14: ἩΪ γησία)ς I, p. 65, col. vi, and No. 209. 
IG, ΤῸ 975 i, 1. 2: [Θαρσύν]ων, Nos. 225, 552. 
c, 1. 6: [Λυσίμαχ]ος, Nos. 323, 540. 
Ff, col. i, after 1. 2: [ὑπὸ Νικόδημος ἐνίκα]. p. 52 and No. 363. 
f, col. ii, 1. 4, with ¢, col. i, 1. 10: Π|[ολέμ]ων. 
g, 1. 2: Ποίλεμων]ἷ, No. 402. 
e, col. i, 1. 8: [Ἡρακλείδ]ης, Nos. 202, 515, 516. 
IG. VII 540, 1. 15: [Δημήτριος Δημητρίου ᾿Αθηναῖος, Nos. 128, 541. 
SGDI, 11 2727: [dvray|wvigaro for [συναγ-], p. 29, n. 
Lebas-Waddington III 257 (Iasos): [᾿Απολλόδωρο]ν, Nos. 42 and 532 a. 
Schol. Aesch. Tim. 157: Παρμένων ὁ κωμικὸς ζὑποκριτής, No. 393. 
Schol. Arist. Av. 513: τραγικὸν αὐτόν φασι ζὐποκριτήν», κλέπτην καὶ, etc., 
Νο. 4321. 
Suet. Vespas. 19: Apelleti for Apellari, No. 38. 
Καὶ. Epig. Gr. 926, 1.10: read [pay ᾿δός or [Avpw dds instead of [κωμῳ δός. 


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UNIVERSITY OF CALIFORNIA, BERKELEY 
FORM NO. DD6, 60m, 3/80 BERKELEY, CA 94720 





GENERAL Lip 


manner 








